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76-12,037
© 1975
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A STUDY OF VOCAL PEDAGOGY FOR THE CHORAL REHEARSAL BASED
ON THEORIES PRESENTED IN PUBLISHED LITERATURE FROM
1960 TO 1970 AND ON INTERVIEWS AND OBSERVATIONS
OF SELECTED CHORAL CONDUCTORS
by
Philadelphia, Pennsylvania
June, 1975
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TEMPLE UNIVERSITY GRADUATE BOARD
Accepted by the Graduate Board of Temple University in partial fulfillment of the requirements
for the degree o f D octor of Musical Arts.
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TABLE OF CONTENTS
Chapter PaSe
I. INTRODUCTION ...................................... 1
Sources of Data
Literature
Interviews
Method of Study
Literature
Selection of Interviewees
Interviews
Questions
Observations
II. P O S T U R E .......................................... 16
Head
Neck
Chest
Shoulders
Spine
Hips
Legs
Feet
Hands
Summary
iv
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III. BREATHING ........................................
Pedagogical Approach
Selected Exercises for the Choral Rehearsal
William Vennard
Pedagogical Approach
Selected Exercises for the Choral Rehearsal
Paul F. Roe
Pedagogical Approach
Selected Exercises for the Choral Rehearsal
Pedagogical Approach
Selected Exercises for the Choral Rehearsal
Pedagogical Approach
Selected Exercises for the Choral Rehearsal
Richard B. Rosewall
Pedagogical Approach
Selected Exercises for the Choral Rehearsal
Ivan Kortkamp
Pedagogical Approach
Selected Exercises for the Choral Rehearsal
D. Ralph Appelman
Pedagogical Approach
Selected Exercises for the Choral Rehearsal
Wilhelm Ehmann
Pedagogical Approach
Selected Exercises for the Choral Rehearsal
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vi
Cornelius L. Reid
Dale V. Gilliland
William C. Rice
Gladys Levinson
Aksel Schi&tz
Ivan Trusler
Esther Andreas and Robert M. Fowells
Related Viewpoints
Summary
Abdominal Breathing
Costal Breathing
Emphasis on Exhalation
Pedagogical Approach
Selected Exercises for the Choral Rehearsal
Summary
Wilhelm Ehmann
Ivan Kortkamp
Van Ambrose Christy
Jack Albert Fracht
Paul Willard Peterson
Cornelius L. Reid
Richard B. Rosewall
Lloyd Frederick Sunderman
Regnier Winsel
William Vennard
Sonia Sharnova
Geraldine Cate
Additional Viewpoints
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vii
Jaw
Robert L. Garretson
Jack Albert Fracht
Ivan Kortlcamp
Paul F. Roe
Esther Andreas and Robert M. Fowells
Van Ambrose Christy
Viktor Fuchs
Dale V. Gilliland
Joseph J. Klein
Lloyd Frederick Sunderman
Grace I. Levinson
Paul Willard Peterson
William Carroll Rice
Richard S. Rosewall
William Vennard
Additional Viewpoints
Tongue
Wilhelm Ehmann
Esther Andreas and Robert M. Fowells
Jack Albert Fracht
Dale V. Gilliland
Joseph J. Klein
Grace I. Levinson
Paul Willard Peterson
William Carroll Rice
Lloyd Frederick Sunderman
William Vennard
Additional Viewpoints
Throat
Wilhelm Ehmann
Ivan Kortkamp
Louis Nicholas
Paul F. Roe
Esther Andreas and Robert M. Fowells
Dale V. Gilliland
Joseph J. Klein
Frederick Husler and Yvonne Rodd-Marling
William Vennard
Additional Viewpoints
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viii
V. RESONANCE ................................
Forward Resonance
Wilhelm Ehmann
Robert L. Garretson
Ivan Kortkamp
Esther Andreas and Robert M. Fowells
Paul F. Roe
Van Ambrose Christy
Grace I. Levinson
Paul Willard Peterson
Richard B. Rosewall
Lloyd Frederick Sunderman
William Lamar Horton
Ivan Trcsler and Walter Ehret
William Carroll Rice
Jack Albert Fracht
Florence MacDonald
Louis Nicholas
George Baker
Bernard Kwartin
Viktor Fuchs
Frederick Husler and Yvonne Rodd-Marling
Joseph J. Klein
Morton Cooper
Sonia Sharnova
W. Wynn York
Additional Viewpoints
Summary
Registration
Cornelius L. Reid
Lloyd Frederick Sunderman
William Vennard
Anthony Frisell
Paul F. Roe
Van Ambrose Christy
Ivan Kortkamp
Bernard Kwartin
Chauncey Earle Bryant
Regnier Winsel
Esther Andreas and Robert M. Fowells
Frederick Husler and Yvonne Rodd-Marling
Joseph J. Klein
Grace I. Levinson
Carlo Meano
Richard B. Rosewall
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ix
Wilhelm Ehmann
Viktor Fuchs
Dale V. Gilliland
D. Ralph Appelman
Perry H. Lueders
Jack Albert Fracht and Margarete Sparber
Summary
Low Voice
High Voice
Falsetto
Volume
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Vowel Quality
Ivan Kortkamp
Viktor Fuchs
Bernard Kwartin
Robert L. Garretson
Additional Viewpoints
Summary
William Vennard
Paul F. Roe
D. Ralph Appelman
Ivan Kortkamp
Other Recommendations
Summary
Summary
Wilhelm Ehmann
Van Ambrose Christy
Robert L. Garretson
John R. Halliday
Florence MacDonald
Paul F. Roe
Esther Andreas and Robert M. Fowells
William Vennard
Henry Coleman and Hilda West
Viktor Fuchs
Dale V. Gilliland
Sergius Kagen
Bernard Kwartin
William Carroll Rice
Richard B. Rosewall
Grace I. Levinson
E. Leroy Bellows
Ivan Kortkamp
Ivan Trusler and Walter Ehret
Constance Eberhart
Alice Gerstl Duschak
Robert D. Johnson
Richard Miller
Hadley R. Crawford
Morris Beachy
George J. Henkel
Anthony C. Cappodonia
Additional Viewpoints
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xi
Vowels
Diphthongs
Consonants
John R. Halliday
Paul F. Roe
Van Ambrose Christy
Robert L. Garretson
William Vennard
Wilhelm Ehmann
Paul Willard Peterson
Lloyd Frederick Sunderman
Grace I. Levinson
D. Ralph Appelman
Additional Viewpoints
Summary
Posture
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xii
Morris Beachy
Daniel Moe
Elaine Brown
Harold Decker
Howard Swan
Robert Fountain
Joseph Flummerfelt
Charles Hirt
Clayton Krehbiel
Brock McElheran
Summary
Breathing
Robert Fountain
Howard Swan
Daniel Moe
Morris Beachy
Joseph Flummerfelt
Harold Decker
Charles Hirt
Elaine Brown
Brock McElheran
Clayton Krehbiel
Summary
Relaxation
Brock McElheran
Howard Swan
Daniel Moe
Morris Beachy
Robert Fountain
Joseph Flummerfelt
Elaine Brown
Harold Decker
Charles Hirt
Clayton Krehbiel
Summary
Resonance
Morris Beachy
Howard Swan
Daniel Moe
Robert Fountain
Brock McElheran
Joseph Flummerfelt
Harold Decker
Elaine Brown
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xiii
Charles Hirt
Clayton Krehbiel
Summary
Diction
Brock McElheran
Daniel Moe
Howard Swan
Morris Beachy
Robert Fountain
Joseph Flummerfelt
Harold Decker
Charles Hirt
Clayton Krehbiel
Elaine Brown
Summary
Howard Swan
Daniel Moe
Morris Beachy
Harold Decker
Clayton Krehbiel
Joseph Flummerfelt
Robert Fountain
Elaine Brown
Charles Hirt
Brock McElheran
Summary
Howard Swan
Harold Decker
Morris Beachy
Robert Fountain
Elaine Brown
Charles Hirt
Joseph Flummerfelt
Clayton Krehbiel
Daniel Moe
Brock McElheran
Summary
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xiv
Howard Swan
Robert Fountain
Daniel Moe
Harold Decker
Morris Beachy
Elaine Brown
Charles Hirt
Joseph Flummerfelt
Clayton Krehbiel
Brock McElheran
Summary
Standardization of Terms
Joseph Flummerfelt
Robert Fountain
Morris Beachy
Brock McElheran
Daniel Moe
Clayton Krehbiel
Charles Hirt
Harold Decker
Howard Swan
Elaine Brown
Summary
Robert Fountain
Brock McElheran
Morris Beachy
Daniel Moe
Elaine Brown
Howard Swan
Harold Decker
Charles H/.rt
Clayton Krehbiel
Joseph Flummerfelt
Summary
Clayton Krehbiel
Howard Swan
Daniel Moe
Joseph Flummerfelt
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xv
Morris Beachy
Charles Hirt
Robert Fountain
Brock McElheran
Elaine Brown
Harold Decker
Summary
Summary
Summary
Conclusions
Published Literature
Interviews
Recommendat ions
380
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LIST OF ILLUSTRATIONS
Graph Page
Chart
Vocal Exercise
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xvii
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xviii
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CHAPTER I
INTRODUCTION
is needed for the choral conductor— particularly one who has not
(122; 130).
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singing.
Procedure
solo and choral vocal pedagogy was analyzed in the study for the
diction (122).
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Sources of Data
music. Topics omitted from the Music Index were book reviews,
and coaching and repertory. Since The Choral Journal was not
indexed in the Music Index between 1960 and 1968, each issue of
pertinent information.
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Method of Study
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below.
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5. Walter Ehret: District Coordinator of Music, Scarsdale
Public Schools, Scarsdale, New York.
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After the responses recorded during the interview had been
the conductor to obtain his final approval for its use in the
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-8-
rehearsal?
rehearsal?
rehearsal?
rehearsal?
rehearsal?
ensemble?
conductors?
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were observed.
purpose of clarification.
the skill that enables the singer to produce at will* and with
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set apart from the text with brackets. All other letters and
marks.
books and articles dealing with the changed voice, since the study
was limited to the years between 1960 and 1970, since these works
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idiom and the choral areas respectively. They are Training the
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the five vocal elements, but the research does not include
one of the five basic vocal elements. Moreover, Ross deals entirely
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that voice production is the same for the solo singer as the
results than the proper attitude and mood of the singer (120).
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sing better than those who had only the choral rehearsal as a
areas which are investigated in this study are touched upon only
briefly by Bartels.
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CHAPTER II
POSTURE
1960 and 1970 reveals two topics that emerge as major points of
chest, shoulders, spine, hips, legs, feet, and hands. The peda
back, the whole body resting within the bone framework." (2:2)
The singer should imagine the body is suspended from the head.
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ing the head circularly and shaking the legs. More vigorous
feet are placed firmly on the ground, slightly apart, the body
which the longitudinal axis and the lower transverse axis meet
or shoulders (2:5).
Dale V. Gilliland remarks that the knees, ankles, and toes should
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the chest is also up and forward and the hips and abdomen in a
for a flexible lift of the torso, up and out of the hips. She
ing flat against a door or wall to relax the body. The heels,
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small of the back, shoulders, back of the hands, and back of the
head should touch the door. When the body has been correctly
stiffening (75:4).
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the proper position, he recommends that the singer stand with his
back against a door. The head should be brought back against the
door, while the chin remains level with the floor. Although some
students might need to relax the head from the wall to prevent
throat tension, others will be able to keep the back of the head
the chin upward for high notes and suggest pulling the chin down
that the throat will open. He also urges the choral singer to
hold his music in a manner that will permit him to see the con
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Colorni believes the jaw and tongue will function easily and
ment (54:5).
Berkman states that the head, more than any other part
should be erect, but free to move, while Ivan Trusler and Walter
the head, stresses that it should be held neither too high nor
that the base of the skull lines up with the spine, the forehead
slightly ahead of the chin. When the head bends, it should move
from the base of the skull, not the base of the neck. As the
pitch ascends, the head moves slightly downward. She also ad
to the neck and lower jaw. The jaw should be loose at its hinge
move down and back for the duration of the tone (66:2-3).
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to Rosewall, the head should move freely, although not too far
back at the base of the neck, while the eyes look straight ahead
(74:14).
joints and hang by its own weight. The face and area under the
move the stretching tension from the neck muscles and enable the
Berkman stresses that the singer should press the neck against an
(49:45).
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person move the singer's head while singing until the singer can
relax the muscles which affect the curve in the neck. A neck
(104:27) .
the chest also use the term "comfortably high" to describe its
singers are asked to place the arms over the head, lock the
thumbs together, and stretch. Turn the palms down, unlock the
thumbs, and let the arms slowly fall to the sides while exhaling
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asks singers to tilt the chest upward toward the end of a phrase
with the palms of the hands inward. Next the stretched arms
holding the palms upward. Slowly lower the stretched arms until
enables the lower ribs to expand and also permits rapid breathing
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the chest position until the very end of the song. Because the
breath action is below the chest, the chest need not move from
of posture training, the student will tire quickly and need pe
but with a sense of freedom (2:2). Andreas and Fowells ask the
ward and backward direction. The singer should avoid humping the
drawn back (58:22). Klein agrees, but warns against pulling the
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and down with the tips relaxed. She presents the following
only that the shoulders should remain back and down (70:11;
74:13). Trusler and Ehret state also that the shoulders should
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muscles (23:8).
ning through the body to the top of the head. An upward pull on
the imaginary rubber band brings the legs, hips, torso, neck, and
The spine, which some authors call the small of the back,
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Hips. Roe points out that the hips assume a proper posi
tion for singing when the singer places his body against a door
back against the door to release the abdominal muscles for ease
the hips, Levinson asks that the buttocks be pulled in and under
ward and upward (66:1). MacDonald merely states that the hips
and grace (67:16). Vennard believes that too much focus on the
marionette (78:19).
weight of the upper body (23:8). York, however, sees the hips
the back rising out of the hips. He feels that a common fault
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of posture develops when the center of the body is too far forward.
hips are relaxed as the singer leans forward, placing the weight
on his toes. When the hips are relaxed "one may then rock back
gently and redistribute the weight equally on the toes and heels,
seems likely to the writer that both phrases are used to describe
a similar position.
back rigidly at the knees, but relaxed and slightly bent. Some
but yet be sure that the body does not bounce up and down as you
sing. Locked knees cause fatigue and tense the body." (66:6)
Rosewall asks singers to bend the knees and swivel them to give
Vennard prefers that the legs not be spread too far from
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feet slightly apart, with one foot somewhat ahead of the other.
down (46:11).
apart with the left foot several inches in front. In this stand
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the feet about two inches apart, heels almost touching, and toes
of both feet. One foot may be placed ahead of the other after
(49:48).
between the feet, with the balance favoring the toes rather than
the heels. One foot should be barely ahead of the other, although
foot and the ball of the rear foot. She describes in considerable
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weight will be on the ball of the back foot because the heel
of the forward foot must never leave the floor. Because the
heel of the back foot is slightly free from the floor, it
tends to give the body a surge forward toward the audience.
(66 .6 )
MacDonald stresses that the heels should almost touch in
the standing position with the body weight basically on the balls
of the feet (67:16). Rice also suggests the body weight should
rest on the balls of the feet, but without excessive body curva
front of the other, but cautions against putting the body weight
the weight on the balls of the feet, York prefers the weight to
be balanced equally between the toes and heels, with the entire
with the feet apart, but requires the women to stand with one
place both feet flat on the floor (70:11). Colorni also stresses
placing both feet flat on the floor, knees straight while sitting
(54:5).
number of authors. While at first thought the feet may not seem
they are the basis for the entire body and thereby serve as a
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above the waist, the back of one hand in the palm of the other;
dropped and relaxed at the sides; or one hand dropped at the side
weight off the shoulders. The young ladies are asked to rest
one hand inside the other in front of the body with the arms
other areas described above, and the arms and hands are merely
Summary
of suspension from the head down to the feet aids the proper
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and the positioning of the feet, head, and chest are the chief
pedagogical approach.
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1007.
Key
90%
F-C=Body Flexibility
80% and Coordination
S=Shoulders
70% 68% 68%
60% 60%
50%
.44%
40%
36%
30%
20%
10%
0%
Graph I. The percentage of the twenty-five authors discussing posture who chose to
write about body flexibility and coordination and the recommended positions for specific parts
of the body including head, neck, chest, shoulders, spine, hips, legs, feet, and hands.
CHAPTER III
BREATHING
Combination of Diaphragmatic
and Costal Breathing
ing stress lowering the diaphragm and expanding the ribs slightly
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set of muscles that resist the return. The weaker muscles must be
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-38-
outward just below the "v" of the ribs. If all these aspects of
breathing become habit, the singer can forget the action of the
38) .
open, raise the arms, palms down, from the sides until they meet
cage as the arms are lowered. From the beginning to the end of
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arms. The singer may place the hands below the rib base with the
ing for correct attack, place the finger tips below the center of
syllables, "hm," "ha," "ho," and others are used with pitch.
William Vennard
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indicates that one or two lessons are ample time for explanation
(78:18).
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-41-
extent by knowing the music well enough to prepare the breath for
abdomen. The drills listed here are valuable for the choral
period.
of the hands against the sides of the lower ribs so that after
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epigastrium and lean forward so that the other end of the object
body weight presses against the bottle. Release the breath and
let the bottle press the air out of the body. Inhale, pushing
the body away from the wall as the epigastrium expands. The
back and down as the abdomen moves in and out. With the mouth
open, and the tongue forward and out of the mouth, the singer
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slowly on five counts. Hold the breath for ten counts, and then
exhale for five additional counts. Repeat the drill many times,
lips. The surprised breath is naturally fast and deep and general
(78:35).
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Paul F. Roe
to breathe first with the upper chest only and later with the
occurs, the chest should be expanded, and the abdominal and lower
during inhalation, and the ribs should be held out so that the
the ribs remain expanded in order not to force out the remaining
air.
shoulders down and loose, the throat open and firm, and the neck
the throat should open as if one were about to drink. The analogy
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below.
Place the elbows next to the ribs with the arms straight
out in front of the body, palms up, and hands cupped. With the
mouth open, move the left hand to the left and the right hand to
the right, keeping them horizontal with the floor. With the chin
down toward the chest, let air come in through the mouth. While
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in holding back the breath, the student may put his hand in front
of his mouth and sing so that he feels no air on the hand, only
warmth (9:85).
on the sides of the singer's ribs just below the chest area. The
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attack, free the singer from muscular tension, and develop deep
breathing.
should be opened the width of two fingers, with the jaw hanging
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son recommends placing the hands on the upper chest with the elbows
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Q O ----------------------
ribs forward, and causing the lower part of the lungs to fill.
meet the intensity demands of any song. Too much breath at any
breath (77:3).
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each exercise.
V e rg ^ ^ ^ ^ ^ ^ ^
Id' n #o ° O— -1 ..
m m m nr> nr> m m
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Vertj, glo\A/JV ) sinc^ w ifh one breach.
Very. slovvlt^
-4
O'
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frloderu t e lf f i s«n<^wUh one breath,
n r)----------------------------------------------------
- X i ’ 11
Richard B. Rosewall
up and in, seeking a position at the bottom of the rib cage. The
frontal wall follows the breath upward, then moves outward and
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-53-
downward to begin the process all over again with the next in
halation (74:17-18).
which are most useful for the choral rehearsal are listed below.
Sit with the elbows on the knees and with the shoulders
the back with the hand grasping the other elbow from behind. The
Ivan Kortkamp
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expanding will pull the bottom of the lungs downward and cause
epigastrium and rib cage can aid the diaphragm to remain flat
sitting and leaning forward with the elbows on the knees. The
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the mouth closed, inhale five rapid, jerky breaths; at the same
time sniff through the nose, pinching the nostrils almost shut to
desk with the hands firmly on it, placing the weight of the body
action, the singer should tie a string around the waist and in
D. Ralph Appelman
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during and after inhalation, new breath can be taken quickly with
activity (47:16).
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a free larynx. The singer should drop the jaw loosely and touch
the tip of the tongue on the lower front teeth. Muscular effort
should be felt above the belt line and particularly in the back.
Wilhelm Ehmann
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(2:18).
for singing to be through the nose rather than the mouth. The
epigastrium and standing while the hands check the motions below
(2:15, 23).
Cornelius L. Reid
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saved, since much of the air in the lungs is not used in singing
heavy sigh. He recommends that the singer hold the chest high,
inhale a large quantity of air into the lungs, and then forcibly
Due to a tendency to make the singer dizzy, the heavy sighs should
Dale V. Gilliland
lungs will fill and retain air, and the diaphragm will resist the
The lowered diaphragm and good posture are both essential for
habits (58:56-57).
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-60-
William C. Rice
the air enter the lungs. As the chest expands, air will normally
rush into the lungs to fill the vacuum created by the expansion.
After assuming proper posture with the chest high, the singer
should expand the lower rib cage, the epigastrium, and the lower
(73:26-27).
Grace I. Levinson
keeping the abdomen in and up with the ribs expanded and the
chest held comfortably high. Prior to each new breath the singer
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-61-
expansion of both throat and rib cage. One who has difficulty
stomach so that the dorsal muscle moves the back of the rib cage.
to inhale slowly with one nostril closed and then sniff gently
should be through both nose and mouth. The student should strive
Aksel Schiotz
with both hands and breathing in and out slowly. The drill
work. Continue the exercise without the board, making sure that
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-62-
Ivan Trusler
for proper rib motion, each singer should place his thumbs on
the back of another student, with the fingers near the lower
asking the singers to stand with the backs firmly against a wall.
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-63-
straw. With the chest kept comfortably high, the singer should
(46:15).
Related viewpoints
and upper chest since the bulk of the muscular activity comes
(94:13).
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-64-
rib breath," "chest breath," and the "lower part of the high
12:7; 25:95).
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-65-
Summary
Abdominal Breathing
should never be drawn in. When the abdomen has expanded to its
chest will not be flooded with air--a condition that limits the
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-66-
can increase the normal quantity of breath and also control it.
points out that most untrained singers fail to use good midsection
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-67-
(21:32; supra:57).
Costal Breathing
Henry Coleman and Hilda West focus on movement of the ribs without
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the choral setting is designed to develop the chest and, one
would assume, the ribs also, although Nicholas does not specify
and inhale vigorously as he bends over and extends the arms with
during this motion, while pulling the hands from the elbows in
( 1: 8) .
Emphasis on Exhalation
Fowells, Ehmann, and others deal mainly with the manner in which
a laryngologist.
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Jack Albert Fracht
on the epigastrium, panting, and raising the arms are each used
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-70-
choral setting.
all the air is out of the body, pushing the air out until the
the muscles, allowing air to rush into the body. Repeat the
of the abdominal muscles pushing air out of the lungs and against
that the body tends to rebel against the slow exhalation necessary
develop the muscular control needed for slow and steady exhalation.
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-71-
Related viewpoints
produce a good tone. Since stale air should be removed from the
the singer exhales on a deep sigh and speaks the syllable "yah"
control (35:27).
with all air being transferred into sound. If the tone is poorly
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-72-
(99:22).
advocates that they be used to keep the chest up and out and
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-73-
down.
into the lungs, they believe the singer should stretch the
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-74-
to be dismissed.
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-75-
unnecessary (91:7).
song, the singer can help the diaphragm move to its fullest and
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-76-
throat will rob the tone of luster. To prevent forcing, let the
shoulders (69:44-45).
using the syllable "ha.'' When the hand is placed in the small
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-77-
then breathes through the mouth, the lungs will fill with air.
treatment. The singer should not let all the air escape in the
shoulders and quiet chest. The student will know when the
breath has achieved its lowest point because the shoulders will
(88:22).
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-78-
Breath Support
55-57).
out the abdomen just below the navel and then firmly depressing
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-79-
Klein recommends exercises that are not practical for the choral
(64:21-22).
of energy fights fatigue and draws the reserve air out of the
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-80-
singing (90:13).
cords. To aid the vocal cords in resisting the flow of air from
the body, a fine teacher can assist the student in developing the
for each pitch and dynamic level. Careful work with a teacher
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-81-
four and suspending the breath for a count of two with the vocal
Eventually "oh" and "ah" may replace the "ss." Transpose the ex
phrase should begin with a momentary pause which lifts the rib
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-82-
all the singer's air on the first few tones of a phrase. The
Silent Breathing
and simultaneously opens the vocal folds so that the air enters
demonstrates that the singer has properly opened the throat and
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-83-
Inhale, exhale, and relax for four counts each. Increase each
exercise, the singer forces the air out with the hands during
swinging, body bending, and sit ups. Fracht believes that breath
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-84-
fit the rhythmic form of the song. Before beginning the song
and during the rests within it, the singer should inhale evenly.
mentions only that singing requires more breath and energy than
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-85-
stance for the new breath. Breathing and singing become fused,
Miller are brief and do not suggest specific exercises for the
Summary
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author writes about his favorite method of teaching breathing,
theories.
been designated.
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100%
Key
90%
CD-CB=Combination Diaphragmatic-
80% Costal Breathing
IB=Indirect Breathing
70% EE=Emphasis on Exhalation
ABT=Additional Breathing Techniques
60% BS=Breath Support
AB=Abdominal Breathing
50% SB=Silent Breathing
46% SPP=Suspension Prior to Phonation
40% \ CB=Costal Breathing
30% N,
20%
------ -14% 137.
10% '--- ------ -
^ 77. ,77. »
------- - ^ 4 ---- --- ^4%
0%
Graph II. The percentage of the fifty-six authors discussing breathing who chose to
write about the combination of diaphragmatic-costal breathing, indirect breathing, emphasis on
exhalation, additional breathing techniques, breath support, abdominal breathing, silent
breathing, suspension prior to phonation, and costal breathing.
CHAPTER IV
RELAXATION
desirable tensions are best realized when all other strain has
- 88 -
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-89-
raising and lowering the heels, and stretching the arms as high
back with the head, back, buttocks, and legs touching the floor
the body slumps forward. As the sigh draws to a close, the body
helps bring fresh air into the lower lungs, encourages deep
flexibility (2:19).
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-90-
basic pulse and flow of the music, while relaxing and conducting
(2:5).
that the muscles buckle nor so tight that they stiffen (5:39).
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-91-
and then let go. Once the tight muscles have been discovered,
relaxed prior to the attack, but become flexibly firm, not rigid,
particular part of the body will help to relieve the tense area.
shake the head loosely, and relax the shoulders by swinging the
should attempt to keep the throat free and open, thus enabling
jaw. One should not try to hurl or project the voice, but the
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-92-
tone should flow freely, resonating inside the pharynx and head.
the singer tries to add more beauty, freedom, and emotion to the
of these muscles, they should move flexibly not only from consonant
use them by moving about, swinging the arms, jumping, and bending.
for group use are the following. While sitting, breathe deeply
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-93-
another exercise Fracht asks the singer to tense the entire body
upward to the chest. Then tense the fingers, moving the tension
same order. When the neck relaxes, let the head flop to one
side. Let the jaw actually sag. Relax the entire body for a
few seconds, sigh, and stand up. To relax the throat, Fracht
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-94-
initiate tone. The term, "relax," should mean that the singer
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-95-
with the frontal wall relaxed and the tongue and jaw a bit
asserts that pursed lips cause tension in the cheeks and throat.
The singer must relax the facial and lip muscles as much as
when the tone is not properly supported by the whole body. When
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-96-
The singer should then stretch the tongue by placing the tip
the bottom of the mouth. With the mouth open, inhalation and
stresses physical poise in which all working muscles are free and
alert and all other parts of the body relaxed (78:211). With
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-97-
coordination.
chest voice. Keep the tone simple and sweet. The high notes
descends (78:211).
ing a free throat, which she achieves by keeping the back of the
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-98-
however, should not become relaxed to the extent that the tone
in tune with the moods of the song and relaxed or tensed according
head forward and relax the shoulders, the teacher can help him
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-99-
(32:107; supra:88-90).
and let them fall naturally into place. If one breathes deeply,
the body gains poise, and strain disappears from the voice (66:8).
Jaw
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-100-
freedom in singing.
voice. The jaw should move freely, and the upper lip must not
a sixth higher, and the soprano a sixth above the alto. Each
full chord is reached. After six beats, the entire chord should
the singers should drop the jaw, explode the attack, and hold
while observing the movement of the jaw. Next, the sounds should
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-101-
start the tone, and then drop the jaw to open the mouth. The
wuh." With the first scale degree serving as the initial member
(4:39, 43). If the corners of the mouth are lifted, the jaw and
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-102-
relaxed jaw and cautions him to move it only down and up. If
the jaw is twisted to one side or jutted out, the muscles will
and also fail to move the chin downward and back toward the chest.
Roe lists several words that assist singers in opening the mouth—
To check for proper jaw opening, students can place their fingers
at the hinge of the jaw just in front of the ear. When the opening
at the back of the jaws has been found, the students should sing a
series of all the vowel sounds while keeping the jaw dropped. The
asks the sopranos to open their mouths, placing the hands on the
shaping the mouth into a square with loose jaws, the student should
sing the high passage again on "aw," while maintaining the facial
position. Next the phrase should be sung with the words, while the
to all the singers the advantage of the dropped, loose jaw (9:104-
106).
such as imagining an egg in the mouth with the large end in the
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-103-
back. He also asks the singers to sing "ah," noting the dropped
tongue form the vowel while maintaining the jaw position for
place the forefinger and middle finger on the cheeks between the
teeth and push the dimples into the cheeks with the jaws open.
Roe also suggests singing "ya-ya-ya" while dropping the jaw open
imagine chewing gum while singing. Never open the mouth with
the jaw, but let it flop in a relaxed manner as the mouth opens.
lower the chin for low notes and raise it for high tones should
is broken (9:106-107).
forward, down, and around as the singer inhales will loosen the
the jaw, check the jaw movement while saying "you," or imagine
biting into a large apple. The singer can also place the index
fingers on the jaw hinges in front of the ears and feel the
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-104-
to let the jaw hang in a pendulous manner with the tongue loosely
forward, the lips flaccid, and the muscles over the cheek bones
gently from side to side while swinging the jaw and lips in a
toward the center, and moving down toward the Adam's apple.
Christy also believes that the jaw, along with the lips and
the jaw may be moved down slowly without disturbing the quality
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-105-
between opening the mouth and dropping the jaw. The jaw is
muscles (58:28).
completely open, but loose. Klein warns that a stiff jaw usually
lifts the larynx and closes the throat. One of the causes of
tremolo is the adverse action of the jaw muscles which can pull
too small. If the opening is too wide, muscular tension and tonal
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-106-
By placing the index and second finger in the mouth, the singer
(76:20-22).
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-107-
prevent opening the jaw too wide, say "aw shucks" and then sing
When the hinges of the jaw are excessively tight, insert a card
"ya-la" and articulates the "la" by moving only the tip of the
jaw should neither protrude nor be set, but should lower freely
should be smaller than the opening in the back of the throat. The
lower lip should cover the lower teeth, but the upper teeth should
tone scale. The jaw should wag slowly and loosely. Peterson
to relaxation (70:22).
the widest part of the thumb between the front teeth. When the
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-108-
say "that hand." If the jaw is hanging loosely, it will not move.
die?" Rice recommends a wide open mouth and a loose jaw which
and sideways to loosen the area of the jaw and separateit from
teacher and student must decide how far the jaw can be dropped
vocalizing (78:118).
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-109-
"ah," Trusler and Ehret mention that the jaw should be dropped
and relaxed (77:25). Mack concurs, but also asks the singer to
open the throat (25:96). York also views the relaxed jaw as a
the jaw unlocks. The jaw should gradually open as the hum opens
the mouth (101:14). Ouida Fay Paul suggests placing two or three
fingers, thumb up, between the teeth to demonstrate the open and
face between the rear teeth, quite far back. These devices should
The jaw is a part of the anatomy that is easy to observe, and its
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-110-
Tongue
tongue from humping, exercises may be sung on "m," "n," "ng," " f ,"
"v," "g," and "sh" with the tongue hanging out of the mouth like
should move the tip around the inner rim of the lips, over the rows
of teeth, and around the hard and soft palates. Both yodeling and
tendency, the singer should pronounce the word "hum" with the tip
of the tongue just touching the inside of the lower front teeth.
The "h" of the "hum" starts the air flow, the "uh" sound relaxes
the rear of the tongue, and the "m" produces the resonance. As
the lips lightly close, the teeth should be slightly apart and
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-111-
against the upper teeth. After pushing hard, the tongue should
relax and fall to the floor of the mouth. The entire process
the tongue against the lower teeth on the right, then against the
upper right teeth, followed by the same motion against the center
of the teeth, and finally against the teeth on the left. When
moment, after which the singer should stretch the jaw by yawning.
sound. If the clicking sound is heard and the mouth fills with
saliva, the actions are correct. One should not overdo this
singer to hum easily and sustain the tone for eight or twelve
or gently touching the gums at the base of the front teeth. Since
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-112-
results when the tongue shapes the pharyngeal resonator and links
release the mylohyoid muscle and position the hyoid bone a half
inch above the chin level. All motion of the tongue should be free
as the singer keeps the jaw relaxed and motionless. The tongue's
formation used to produce "ay" with the mouth wide open. When the
tongue moves back and forth rapidly, the singer should achieve a
according to Levinson, the place for the tip of the tongue when
not humped nor pulled back in the mouth. The tongue cannot be
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-113-
tense, Peterson finds its natural thickness at the base can cause
hung-ay." The singer should keep the back of the tongue free
throat space wide enough for a vital tone. The syllables "goh-
the tongue. The back of the tongue should move rapidly and
high, the larynx is abnormally raised and the tone becomes pinched.
the singer can flatten the tongue and induce the throat to open.
should lie forward in the mouth with the edges touching the lower
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-114-
result. The tongue and the entire throat area, therefore, should
ing, the singer should develop the habit of placing the tongue
stresses, however, that the teacher should not nag the student
tongue, although the author admits that some singers can produce
releasing the jaw. If the jaw drops down and back from the socket
tip of the chin, the tongue muscles will be released. Then the
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-115-
advocates gently touching the lower teeth with the tongue (67:
on a single pitch with the jaw quiet and the back of the tongue
Throat
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-116-
adequate resonation.
ing and open the throat by biting into an imaginary ripe, juicy
position, or the throat can become tight and the voice sound
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-117-
the throat muscles tire, and then "bouncing" into the vowel. A
(4:54-55).
larynx also goes down, and the singer should allow it to remain
range (4:55). When a closed throat and tight jaw cause a pinched
should imagine the tone coming into the body as he expands the
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-118-
(26:49).
against the tension that can occur when the throat becomes taut.
but the beginning and ending stages of the yawn are conducive to
an open throat. Exercises should keep the throat firm and opened
with the neck muscles relaxed. Roe a~.ks the singer to imagine
suddenly amazed and retain the position for singing. The singer
130) .
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-119-
are relaxed, the vocal tone improves. On high notes, care should
space available for resonance. Since the larynx will move some
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-120-
tighten the throat. The muscles of the tongue and jaw pull the
larynx against the hyoid bone so that the larynx cannot function
may push the insides of his cheeks between the teeth and emit an
easy pitch in the middle of his range. The jaw should be motion
swallowing muscles, the throat will be free, and the tone will
freely (62:101).
about a free and open throat, asserts Vennard, than any other
and lower constrictors) that form the wall of the pharynx should
be relaxed. One should not force the larynx down, but let it
should remain the same during both phonation and inhalation. The
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-121-
importance of the open throat. When singers are preparing for high
Singers with tight throats usually forget to open the mouth and
drop the jaw (55:87). Appelman also stresses that the beginning
way through which the supported tone floats. She believes that
an emotional rise within the body keeps the throat free when
moving to high pitches (66:76). The open throat that occurs just
tongue and an open throat at this stage of the yawn provide the
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-122-
(98:51).
dropping the jaw quickly and loosely on the vocal attack. The
arching the velum and opening the throat is needed, but care
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-123-
(3:43).
the consonant "m," they further recommend that the lips should
relaxed lips, but recognizes that if flaccid, the lips can muffle
the tone. If the edges of the middle four upper teeth barely
show, the lips will not be excessively tense and the high partials
advocates lips that are free and elastic at all times. A natural
mouth opening and vowel formations will permit the lips to assume
shoulders, the singer should not lace the fingers, drop the hands
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-124-
the ribs. Moreover, one should not beat time nor pump the arms
if they were deep sighs, and then let the body relax with a
loosely from the wrists and practice resting the back of the
(51:64).
close the lips lightly on "m" while singing down the scale
singer should avoid singing any louder than the volume level
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-125-
voices and "e^1" for low voices. The first four tones are
Close the lips loosely on "m," and use the tip of the tongue
singers should neither sing too loudly nor too softly. Either
singing.
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-126-
Summary
constraints.
tension.
tongue.
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Key
50%
16%
Graph III. The percentage of the thirty-seven authors discussing relaxation who
chose to write about the general state of relaxation, jaw, throat, tongue, and additional
comments related to relaxation.
CHAPTER V
RESONANCE
techniques.
Forward Resonance
the eyes. The tone may also be envisioned spinning behind the
-128-
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-129-
enlarge the small sound produced at the vocal cords. Once again
singer can shape the hands like a megaphone around the mouth. The
temple and forehead when singing "n," the back area of the top of
the head on "ng," and the bony part of the nose on "ay." When
(2:37).
"nah," for example, widens the spaces of the larynx and oropharynx
to achieve high focus and good head resonance. The "n" tends to
counteract the tendency of the "ah" to fall back into the throat.
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-130-
the singer may use words which incorporate the resonant sounds
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-131-
the nasal port to remain slightly open and extends also the
draw the breath inward and upward. Yawning can develop the
facial muscles which are located above the upper lip, the singer
major scale sung in half notes using "hah." The range can be
"eb ." With two fingers between the teeth to open the mouth and
slowly with a quick breath between each new octave. The roof
behind the bridge of the nose. By pulling the hand inward to
vowels (3:47).
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-132-
(3:49).
octave and sustain the tone, the altos descend as far as the
third of the scale, the tenors move down to the fifth, and the
the lips opened. If the lips are closed to make the "hm" sound,
the sound should become "ng" and not "ah" when the lips are
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-133-
tongue position in the back of the mouth necessary for the "ng,"
the singer should lower the tongue so that a tiny stream of air
can escape between the roof of the mouth and the arch of the
tongue. Using this mouth position, the student should sing the
emphasize the hum while the others sing the words without
ing like a dog" on "nn," with lips parted, to find the high
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-134-
circling upward from the neck into the head and back down through
the roof of the mouth. By deeply bending forward from the waist,
from the head down through the nose and teeth (4:56).
walls of the head and sinus cavities. The walls should neither
singer should start the air flow with a slight inward and upward
havj-dch, haij-dcuj
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-135-
(46:22).
develop resonance.
together. When the "ah" is sung, the tone should be full and
which the mouth and throat are open during the "huh" sound.
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-136-
the "k" relaxes the heel of the tongue and "ih" provides a
singers should use "ee," "ih," or "ay" for the second syllable of
the exercise, while "oh" and "ah" may be practiced if the muscles
mainly through the bones and muscles in the head, closed lips
vowel sung with the lips closed lightly. The jaw should be loose
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-137-
the voice, one should sing all vowels with the tongue as much
the vowels. To get overly dark tones out of the throat, Roe
especially those which are bright and high. The "do" and "oh"
help pull the larynx down to give more space for resonance.
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-138-
singers to open the throat and keep it free from any interference
illusion of singing above the throat and high in the soft palate.
singing act. After emanating from the relaxed throat, the tone
seems to divide into two streams. One goes through the head
while the other stream goes through the mouth and impinges
against the upper front teeth. All singers should strive for
vibration behind the eyes and nose coupled with a relaxed and
singer the feeling that all tones originate from above, thereby
Christy uses both a hum and the "ee" and "ay" vowels to
"ay" becomes freer if the jaw is generously dropped and the tone
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-139-
sonority.
\
iy ... o h - - no— o h - - m — o h - - m — oh — m — oh.
AO— a h — m — a h — m — a h — m —a h — m —a h .
e e - - o h — ee —oh — e c - a h — e e — o h — e e —Q h.
e e - - a h — e e —a h — e e - a h - - e e —a h - - e e —a h .
ah - ee — ah- ee — - - uah
n -- cee
c — ah - e e — u
ah ee
a h - a t f .- - a h -a c f— a h - — a h - $'— — ah
c <i f
h a u /-e e —h a a j-e e — h a u i-e e -- hauJ-ee— hau)-ee
ha.uJ-ee
haul-a hauf-a^-— hauj-a^— hau/-ai^— hauJ-a^
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-140-
and floating tone in the head, almost detached from the body.
er, and she suggests practicing it with the tip of the tongue
against the roots of the lower front teeth with the lips slightly
the nostrils. The vowel "oh" may also be used coupled with any
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-141-
"di-de-da-do-du-de-da-do-du" (66:84).
(70:45-46).
passes through a free, but firm, throat. In the next step the
actual singing of the words. Since the vowel sustains the tone,
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-142-
vowel to another. The forward ring of "ee" and "ay" should carry
into "ah," "oh," and "oo." Likewise, the richness of "oh" and
"00" should color "ah," "ay," and "ee." Next Peterson advocates
adding the consonants "b," "1," "f," "g," "k," and "v" to single
pitch drills with the cardinal vowels. The singer should main
consonants (70:47-48).
48-49).
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nee oh ah n w o h a h m r e o h a h r t t e ^ ^ n<efthah nte©h«hwc«
of the mouth and often in the front of the face or the masque.
found also in the throat, chest, and other parts of the body
(74:46)
gradually out and down when moving from "mee" to "yoh," the
singer should let the "yoh" rise in the head as if the roof of
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Exercise 17. Rosewall. Vocalise to develop resonance
(74:46)
teeth. The tongue should be relaxed and flat in the mouth with a
sense of buzzing between the lips as the tone flows through both
the nose and mouth. It is desirable for the soft palate to relax
the front of the mouth may create a sense of hootiness as the tone
rises into the head, the sound should be carried upward into the
with permission of the copyright owner. Further reproduction prohibited without permission.
-145-
through the top tone, the singers should imagine singing through
slight jaw projection while sliding lightly into the second tone
of the beat. If the "oh" vowel appears to drop into the throat,
(74:47).
veQ
off by a raised tongue or a rigid soft palate that the nasal sound
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-146-
"oo" into all the other vowels. The singer should also concentrate
and head may vary due to the change of vowel, a constant use of
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-147-
keeping throat, mouth, and face muscles relaxed. The final "m"
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-148-
and "noh." The singer should not permit the timbre of the tone
(76:66).
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-149-
of the air, and strive to produce the tone easily rather than
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-150-
$
/«m>yT<3Lh'»yicxh*rftah*nKih -
rti/YiffiOh-wih'rttoh'inoh -
_#n
_ • - a r • Ia
rtrt hah* noh - - - - hah — nah—nah — «ah --n a h hah — hah
x z z£€>-ah - - ----------------- — ----------
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-151-
r w n m o h moo f * c h « o o moh n w o « o h m o o - r w j h - r o r o - m o h ^ Q O - n a o K T
below the part of the range within which the sound remains clear.
One may feel the vibrations by placing the hand on the top of
mouth, head, and chest. They view the mouth as the resonator
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-152-
by Rice, who stresses the need to let the voice seek its proper
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-153-
eyes, where the sound is amplified and made fuller (55:29). The
resonator does not add energy to the sound, but focuses the energy.
medium and high pitches, while the chest functions similarly for
curl the lips inside the closed mouth and hum short, staccato
hum until a long tone can be sustained. Open the mouth slowly
by letting the jaw drop and the lips return to their normal
position. As the mouth is opened, the hum loses its nasal quality
a rigidity of the lips and jaw which prevents a ringing tone and
While tones must be arched forward, each has its specific vibrating
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-154-
(67:23).
breath flow across the teeth, and freedom of diction. The normal
area for whispering is found where the tip of the tongue meets
kah," also sung on a single pitch with a quiet jaw and free tongue,
Vocalization on "ee" and "ay" helps concentrate the tone and brings
muffled, a slight raising of the upper lip can brighten the tone.
efficient use of air. Should the tone become too nasal in the
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-155-
preface vowels with "g" or "k" and vocalize primarily with "ah"
the hard palate near the upper front teeth for the best vocal
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-156-
controlled (57:60).
practiced (67:70).
If the palate does not drop, the resonators are blocked and high
tones become weak and strained. To relax the soft palate, the
singer should hum with the jaw lowered, the lips closed, and the
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-157-
tongue as far away from the back wall of the throat as possible.
mouth, while the teacher's hand tightly covers the opening as the
suddenly releases the hand on the third tone, a firm ring should
masque resonance, the singer should place one hand on the bridge
mentally guiding the tone forward. She calls the process "leaning
ascending scale, the singer should feel the roof of the mouth
from the "oh" position, the singer should close the lips more to
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-158-
tongue with a low larynx to secure his ideal tonal concept. The
"th," which goes through the nose in a buzzing effect; and finally
reserving the difficult vowel "00" until last. Next, these sounds
also raises the larynx. One should learn, therefore, to lower the
this pattern, the singer should end each tone with a vowel,
single pitch, breathe, and repeat the series a half step higher.
Other vowel sounds preceded by "n" and the syllable "mum" may
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-159-
The nasal resonance forms a basis for open vowel production which
(97:92).
set vowels. The mouth opening should be at least the width of the
first two fingers, with the lips slightly rounded, and the upper
lip raised enough to show some of the front teeth. The tip of the
tongue should gently touch the roots of the lower teeth. Preserve
the hard palate behind the upper teeth, but the vowels should not
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-160-
encourages them to note cold air in the back of the throat while
lips, mouth, and throat without losing the resonance of the word
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-161-
Registration
authors agree that certain pitch areas within the vocal range are
registration.
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-162-
proper interval adjustments are made, the vocal range can freely
thyroid and arytenoid muscle groups are the only external muscles
that can bring the vocal folds into tension, Reid concludes there
are only two vocal registers--the falsetto and the chest. The
registers (72:114).
in a balanced relationship.
tonal quality. Until the proper adjustment for each tone in mid
range has been achieved, the outer registers will prove troublesome.
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-163-
possible (72:136).
tones. When linking vowels, the singer should hold the mouth wide
should begin on the "c" above.middle "c" and work downward before
moving into the upper range. The pattern may then be varied by
pitch of the descending scales should fall between "e" and "b"
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-164-
(72:140-141).
below middle "c" and moving downward in steps. After the vocal
loudness of the chest register in both men and women, the singer
should hold back the upper chest tones and increase the strength
ing scales sung with diminishing volume are also useful vocalises
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-165-
first. For men, Reid points out, the messa di voce should not
of tone (76:32-33).
also sing the pitch "g" above middle "c" with the syllable "loo"
the tone or moving the resonance area, take a breath, and sing
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-166-
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-167-
The final "m" should be strongly resonated, and the third syllable
To give the singer added confidence and extra nasal focus, the
3-2-1-2-3-4-5-4-3-2-1 (76:49-51).
resonance, delves more deeply into the subject than any of the
"unused" register— falsetto for men and chest voice for women
(78:63-76).
some of his fear of high tones and can gain also the use of his
Vennard points out, however, that while it is not harmful for men
chest voice upward. The abuse of the chest voice can cause an
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-168-
softer the tone, the lighter the production should be. Conversely,
the louder the tone, the heavier the mechanism. So-called rich
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-169- .
the register break at "e" above middle "c." The falsetto must
overlap all tones of the lower register with strength before the
true quality of the low register can be added in the lower range.
clear and steady, the singer should sing downward to the bottom of
the range as long as the soft intensity and falsetto quality are
ly eight-tone scales. The singer should at all times sing the top
tone softly and continue the same intensity until the end of the
scale (56:39-42).
bite from the lower register to the smooth quality of the falsetto.
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-170-
of the break in the tenor voice usually found between middle "c"
falsetto quality, and gradually swell the tone until the edgy
volume, the singer should add the full resonance derived from the
(56:48).
singer should gradually use all the Italian vowels and eventually
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-171-
diaphragmatic support, the tones can gain too much weight as they
drop into the low register. If a song keeps the voice predom
never be any fuller than necessary for a sudden shift to the upper
bright "ee" from the bottom to the top of the voice range, noting
the strained vocal quality and laryngeal tension. If the same "ee"
is produced with a deep drop of the jaw in the high range, the tonal
quality and ease are improved. Roe recommends bright vowel place
vowel placement sung with a loose jaw at the top of the range.
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-172-
breaks. Low tones in actual songs can be heavy only if they are
unstrained and the singer is not moving into his upper register on
range at which the vowel color should darken. Although the exact
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Exercise 29. Roe. Alto vowel modification to blend
registers (9:133)
x.
>ah avJ. oo
o-
fcr»<ghi*— .oh oo
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-174-
more breath for each upward degree. Low tones should not be loud,
for each downward scale degree and less for each upward degree.
scale movement and increase the mouth opening for each upward
scale motion. When producing low tones, he should let the front
intense, and forward tone quality. For high tones Christy asserts
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-175-
easier to focus tone in the low range and prevent its spreading
singing (4:72).
ee- oh - ee -
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-176-
then lighten the breath pressure, while letting the voice become
octave below the initial tone of the song. Sing rather forcefully
the final "ee" of the yodel, hold it, and merge into the vowel of
the first word of the song, continuing the piece with a light tone
register is being carried too high, and the shift into the lighter
register should begin lower and progress even more gradually. The
on pitches which place the upper tone of the interval above the
registers for women and open, closed, voix mixte, and falsetto
"ue," "oe," or "oo." Eventually the more open "ah" and "eh"
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-177-
and head voices, the singer should not extend the medium voice too
from the lower middle voice with the vowels "<5t>," "oh," and "oe."
singer should blend the open and covered voices by singing down
ward from the closed voice to the open voice with a slightly nasal
focus (65:71).
also be avoided since they tend to isolate one portion of the voice.
student should sing a word on each of the first four scale degrees,
take a breath, and repeat the words on the remaining scale degrees.
Continue the exercise until each tone merges flexibly with the
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-178-
falsetto register develops the high range and the pianissimo tone
basis for beginning vocal study, but his recommendation that the
teacher physically separate the hyoid bone from the larynx is not
45-54).
the vocal folds which naturally produce the low, rich sounds is
use of the low adjustment limits the upper range and flexibility
of the voice. On the other hand, using only the light adjustment
in the entire range limits carrying power in the low range and
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-179-
the closers of the vocal folds come into action and the voice
loses its thickness. The nasal resonance on the low pitches tends
Between middle "c" and the octave above in all voices, the tones
are produced by both the upper and lower mechanisms. Within the
the octave, however, only the upper mechanism is used, and below
(64:68).
recommends singing the upper tones with more power than the low
tones. The singer should avoid positioning the throat in any set
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-180-
resonance upward. Singers should not carry the chest voice above
its natural break, but bring the head voice down to the chest
resonance (66:28-29).
passagio should not be forced or the entire range of the voice can
head register downward to unify the voice, but does not find any
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-181-
(74:37-38).
achieve bright tones in the low range and dark tones in the high
possible and the head tones down as low as possible. When singing
of Fuchs, are head, middle, and chest. Although the head register
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-182-
jaw is to be dropped and loose, the mouth opened wide, and the
and tilting the thyroid cartilage forward when passing from one
singer should lower the head register rather than raise the chest
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-183-
blended vocal quality throughout the range are among the most
down to the lower range as the best means of unifying the voice
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-184-
choristers.
Low Voice
Fowells suggest the singer think high while closing the jaw.
gives elasticity to the area of the soft palate and enables the
position of vowels for low tones. She also cautions singers against
use of the open "ah" in the lower range, since it adds a coarsened
for low than for high tones in the opinion of Levinson, the
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-185-
(67:47).
throat should be flexible and roomy, since any set muscular tensions
in the lower part of the voice can accentuate the break and reduce
part of the throat. Singers should approach chest tones from above
beginning on the same pitch. The singer may also use the vowels
descending octave jumps on "ah" and later on "ee," "ay," "oh," and
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-186-
avoid a break in the voice. The low tones should not be pressed,
ing triads beginning in the low range using the vowel patterns
the same vowel throughout. The tone should vibrate freely in the
lower resonators, but the weight of the tone should lighten as the
(70:72).
forcing low tones or trying to sing them with a dark, heavy sound.
The singer may need to be reminded that low tones are resonated
in the speech area and not in the trunk of the body. He should
attacking them from above. The student should not sing low tones
producing low tones he should sense also, that all of the vocal
folds, not just the edges, are vibrating. Low tones should be
(51:148-149).
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-187-
he suggests the singer pull the tongue back and down, almost to
the point of gagging. The chin should not be pulled down into
the collar, however, since that position will cramp the voice box.
added to low tones by thinking the tone in the masque and allowing
vibrations can be felt when tones are sung correctly in the lower
he advocates the smaller mouth opening for the open voice only. To
achieve resonance in the low voice, one should move the focal point
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-188-
singers should focus low tones toward the masque, use more arch in
the tone, or even direct the tone toward the nose when singing in
the low voice. Since many singers tend to produce low tones with
the tone forward when singing in the low range. Imagery is often
jaw opening for low tones, Kortkamp suggests dropping the jaw.
High Voice
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-189-
25-26).
high and the low registers, because they recognize the ideal voice
one of their exercises they ask the singer to yawn and then emit
tone should be sung with intensity, after which the singer drops
the jaw and sends a quick gust of air through the larynx. The
student should sing the upper tone quickly and return immediately
the first two notes on "d" and the last tone sliding up an octave.
The singer should use the same kind of limpid tone produced on
the last tone of the "uh-huh" phrase when practicing the following
vocalise (46:26).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Exercise 33. Andreas and Fowells. Vocalise to extend
the range (46:26)
prepare mentally for the high tone before singing the pattern,
"ho" to keep the resonance forward and out of the throat. The
high pitches. Singers should attack high tones with flexible but
crisp tongue and lip action and a jaw that is generously dropped.
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-191-
let the tones enter the head; high pitches should not be placed
the same position of the larynx for a high tone as for the
should not shout or sing loudly on high tones, but use the breath
high lci-.ge, the singer should relax the throat and progressively
open the mouth as the pitches ascend, feeling that only the edges
singers should not fear high pitches, but be mentally and physically
kept open from the lower resonating areas to the high range, and
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-192-
with a free throat, enabling the pure vowels to move into the head
. | . C T v P i . ^
oo o h ------------------------- -
oh e<£--------------
ee om,---------
a<f an ------------------------------
ah o o --------------
(70:75).
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-193-
ST: : : : z
Exercise 35. Peterson. Vocalise to develop head
resonance (70:75).
"do," "oh," "ah," and "ee." The singer should conceive mentally
the quality and pitch of the top tone before singing the first
produce high pitches, she asks the singer to keep the larynx
rib cage and the small of the back. Conviction that high tones
should not reach for the high tone but feel that the body towers
over it. Think of an arc leading to the tone rather than squeezing
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-194-
word, the singer should accent the next important word or accented
syllable (66:68).
balance of bright and dark tones in the high range. He asks the
syllable "mah." As the pitches ascend, the singer should add some
higher range, sensing that the high tone resonates more from the
head. Horton believes high tones require more support and air
volume (61:45-46).
suddenly relax it while singing in the high range. Only the vowel
"ah" should be sung above the staff since the jaw needs to be wide
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-195-
order to prepare the amount of light quality needed for the highest
first, move down to the lowest pitch without changing quality, and
sing the phrase— all in one breath. Kortkamp also believes that
High tones for both baritones and basses are also given
should be lighter, thinner, and less mellow than the rest of his
recommends keeping the larynx down, but not letting the tongue
fall back. The singer should lower the head gradually while
breath support than low tones. Head resonance produces the most
newly acquired pitches to the middle and lower range of the voice.
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-196-
highest pitch is farthest away, and the lowest tone is nearest the
the head. While singing exercises and phrases from songs, the
singer should feel the tone becoming fuller while rising higher
in the head as the pitches rise. If the palms of the hands are
placed just under the cheekbones with the fingers above the ears,
to cultivate high tones for men. The method permits only the
cautions against pushing high tones and suggests letting the tone
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-197-
the head, "pressing the middle finger of the left hand against
the middle of the forehead, and aiming the voice at that point."
in quality (4:62) .
190-191; 191-193).
Falsetto
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-198-
the larynx and produce high tones. Although he does not recommend
performance (51:144).
and thereby carry the middle voice higher with less strain. When
the upper range. When the soft head voice or mixed-falsetto feels
the same to the singer, the two registers are balanced and can be
jaw is loose and the tone is thought free, the singer can strive
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-199-
above the staff, moving down the scale to "c," and then returning
to the "c" above. Each tone should be held at least four beats.
from middle "c" to the "g" above, using a light lower register
point may vary. Before moving into the lower register, think the
in the low and medium falsetto pitches, but it does occur in the
highest tones. As the male voice lifts into falsetto, there should
steps to "b" using the syllable "hob" on each tone, holding each
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-200-
and the jaw dropped. Before singing high "c," the men should
the vowels to "do" and "aw" for one beat each. The lips should
not be pursed for "oo." Emphasize the darkness of the "aw" and
also move from the German "u" to "aw" when singing the exercise.
rhythmically using two eighth notes and a quarter note for each
pitch. The attack is sung on "do," the second eighth note becomes
"aw," and the transition into chest voice is made on the quarter
note (79:85-87).
to sing high "g" with the German "u" on a quarter note. The vowel
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-201-
the voice should move into chest register on "aw," sustaining the
the higher pitches of the male voice. The student should start
the shift point will become higher, and the singer can confidently
exercise (46:27).
all the tones of the lower register. When the falsetto has
male voices. If the singer begins in the falsetto and brings the
"light adjustment" down into the lower voice, he can relieve the
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-202-
strain brought about by pushing the low voice too high (18:13).
voice (76:56).
in vocal study.
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-203-
Volume
power.
present in each case, the tonal quality will lack beauty. When the
and expansive, vigorous breath support around the chest and lower
ribs. The singer should establish a free open throat and seek
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-204-
. p-=r f p- C ff P
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
i H H —O —
. mah moh mavjp- mee - - - - - -
r*jcc wo.^^o^----- ---
JaK-laK-lah-lah — la K - la h - la h - la h -----------
ioh-loh-ioh-lo^ — • /oK-ioh-'/oh'-loh----------
them in with the hands, and humming. With the hands in the same
only the stomach muscles without the aid of the hands. As the
when attacking the lower of the two tones. The exercise may
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-206-
asks the singer to hum on middle "c" applying pressure from the
suddenly release the lips and open the jaws as wide as possible
The hands should be pressed in on every other tone, and the speed
singer should start the exercise loudly and then diminish the
motion as he sings middle "c" for four beats. The tone should
on the floor of the mouth. When the crescendo has been correctly
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-207-
against straining for volume when singing low tones, advises them
that volume develops naturally when the throat is open and the tone
(4:70).
with Christy and Fracht in matters of the open throat and resonant
vowels, but do not specify exercises for use by the choral conductor.
Vowel Quality
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-208-
work with individuals. The conductor can teach all the singers
sing "ay," the singer should open the mouth at least to the
width of two fingers and lift the corners of the upper lip. The
tongue should be grooved with the tip touching the lower front
teeth and the sides pushing up against the upper teeth. The
jaw should be slightly open and down so that the imaginary trough
asks the singer to control the breath from deep in the diaphragm.
The air stream should flow over the arched tongue with half of
the air going through the nasal passages and half through the
upper teeth. One should pronounce "ay" almost like "ee" and
upper lip. On "oh" and "ob" the lips should be shaped somewhat
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-209-
vowels "ah," "oh," and "00." On "ih," "eh," and "uh," the tone
132-134).
octave may be sung with these vowels. Fuchs also suggests singing
vowel sounds, Fuchs views "a" as the parent vowel from which all
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-210-
listener (57:52-55).
and five tones, the singer should direct the sound waves toward
the hard palate near the upper teeth. Kwartin describes the
and "ah" are placed farther back in the mouth. He suggests that
and higher range (65:50). If tones are the same pitch, open
higher the pitch, the larger the mouth should be opened, according
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-211-
from the larynx. The singer should not, however, change the
(64:38).
resonated farther back in the mouth and throat than closed vowels.
produce all vowels with palatal and head resonance (77:16). When
(19:78).
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-212-
gives depth and forward focus. All vowels should possess the
resonance (76:60).
private studio.
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-213-
the vocal tone. Since the mouth produces the consonants, the
humming and the use of the nasal consonants "m," "n," and "ng"
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-214-
others do, he tends to sing with a throaty effect that sounds more
pushes the guttural sound back into the throat where the inner ear
hears it more loudly. The singer should learn that the accurately
student puts one hand on his forehead and says "Hello, how are
cavities is increased, the walls become more taut and the tone
is dampened (47:117-118).
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-215-
been pulled back too far. To solve the problem, the student
ah-oh-oo," the student should form all vowels in the front of the
mouth with the tongue in the "ee" position. If the tone is too
covered, he should open the jaws so that the lips and teeth are
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-216-
asserts that the resonance of the mouth, throat, chest, and head
use only head resonance, which is not sufficient for good singing
(73:42).
mouth so that the air current passes into the nasal cavity. If
the throat is open, a slightly raised soft palate gives the tone
open throat and an acute sense of hearing are necessary for good
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-217-
the opinion of the writer they provide insight and teaching aids
Summary
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-218-
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
1007=
Key
907=
FR=Forward Resonance
807= R=Registration
HV=High Voice
717= AT=Additional Techniques
707=
F=Falsetto
607= LV=Low Voice
VQ=Vowel Quality
507= \* 4 8 7 = V=Volume
-2 1 9 -
407=
307= ^y267c
--- -257= 237= 227=
207=
---------- -—
107=
07=
VQ
Graph IV. The percentage of the forty-eight authors discussing resonance who chose to
write about forward resonance, registration, high voice, additional techniques, falsetto,
low voice, vowel quality, and volume.
CHAPTER VI
DICTION
describe the clarity with which the word is pronounced, while the
goals that enable the singer to achieve ideal diction for singing.
- 220 -
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- 221-
from singers.
put meaning into the words, but to draw as much meaning and
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-222-
explains how the vowel "00" has become associated with fear.
is too cutting, however, can distort the musical line. The final
the words to provide both smoothness and clarity. The "h" should
have been mastered. He suggests the director read the text, after
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-223-
ing the text can activate the singers' speech mechanisms and also
singers should think the words silently in rhythm and break into
that the director select from a text all the words that contain
the same consonants. After the director recites the words, the
diction have been mastered, the choir should study the emotional
unity of the text and the music and the means by which they enhance
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-224-
Alphabet for the choral conductor, but for the amateur singer he
"fah," and others can help develop the staccato style. The student
(3:66-67).
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differences (59:2-3).
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sensation in the mouth for sung words should be the same as for
and tongue remain relaxed, but the jaw should also hang loosely
from its hinge when articulating the lip consonants "b," "f," "m,"
"p," "v," and "w." The singer should avoid thrusting the jaw
(67:27-32).
the vowel and slightly rolling the "r." Since vowel sounds tend
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-227-
vowel sounds unless the word sounds affected, "in which case the
"spoken," should be sung "ehn" and not "uhn," while the final "ed"
and "ess" should also preserve the brighter vowel quality. Since
word (9:96-97).
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-228-
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( 1: 10) .
(57:52; supra:209).
sounds (18:13).
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are helpful only for consonants, not vowels. Kagen observes that
habits, both teacher and student should analyze all of the vowel
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-231-
as the singer shapes the text. Since these motions can cause
to tone and does not introduce work on diction until a basic tonal
from one source, but with enough variance to distinguish one vowel
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-232-
voice (66:35-36).
63). Choral directors should also know the tongue and lip
position for each vowel and how to color the tone through vowel
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singer should feel a sensation on the hard palate and upper teeth
Robert D. Johnson, sings the sounds of words rather than the words
connecting all the sounds until they become familiar. When both
the sounds of the words and the notes are secure, they can be
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-235-
can act freely as they are needed. The final act of singing,
the "feeling tone" of words. Beachy uses the term "feeling tone"
with the word's meaning. The singer should become aware also of
( 10: 11) .
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views will not be stated here since the previously discussed work
tion in which the syllables begin with vowels and end with
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Vrbanich asks the singer to avoid undesirable jaw and lip motion
(103:6).
(47:171-177).
hum-like tone that aids in blending one sound with another (90:13).
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Vowels
production.
Since the other English vowels are closely allied to them, the
"loosely forward in the mouth with the tip just touching the base
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-240-
the jaw should be opened the same width for all vowels sung in a
lower the jaw on "ee" and "ay" and all of the short vowels and
use slightly less mouth space when singing "ah" and "aw." Since
most students produce "oh" with the correct average mouth width,
the "oh" vowel can serve as a norm in measuring the other positions
(51:81).
form adequate vowels. The lips should move the same as in speech,
except for the speed required by the demands of the music. The
singer should avoid setting the lips before the tonal attack or
maximum lip position at the end of the tone. When shaping "ah" or
"ay" the lips should be formed slightly forward from the closed
position, and then move backward. For "oh" and "oo" the lips
begin in the normal position and move forward. To shape the vowel
"ee1
,1 the lips should start in the "(5T)" position and move slightly
forward (51:82).
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-241-
the bright and dark vowels. The jaw should not be dropped too
far for "ah," and to prevent a throaty and dull sound, the vowel
recommends using the jaw drop for "oh" as a permanent position for
individual vowel. To form "ah" from the "oh" position, the singer
should move the lips slightly forward and imagine the "ah" to be
drop and somewhat more breath than most singers consider necessary
or white, one should sing the neutral "uh" and gradually merge
into "ay," maintaining the resonance space and jaw position for
The student should drop the jaw as far as possible and give the
exclamation. The lips should be rounded and kept away from the
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-242-
"oh" but with a smaller and more forward opening of the lips.
"ah," "oh," or "ay." The singer should compensate for the natural
sound of "ah" until the very last moment of its duration, when the
English vowels will not be included here, since the vowels will be
vowel sounds. An example of the latter is "Go slow old foe moan
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-243-
fm o r 1 I J J •
L . U-1 — 1
ah — ee — i oh oo^- -
the vowel qualities, the singer should think of "ay" and "ee" as
being somewhat darker than normal, while "oh" and "ob" should be
for the small mouth openings used for "ee," "ay," and "oo," and
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(51:87-88).
increase the length of the other vowels. The sequence "ah," "ay,"
"ee," "i," "oh," and "oo" can also be practiced with "uh" between
arpeggios, the singer should strive to merge into the vowel from
longer (51:88).
augment whatever partial in the tone is in tune with it. This part
of the instrument, and also the frequency band in which the exag
The shape of the mouth for the production of each vowel sets up a
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-245-
130).
to the original glottal sound. The sounds of "ay" and "ee" are
formed with the tongue and a high larynx, while "oh" and "do" are
For vowels other than the five pure vowels, Vennard recommends
Vennard's opinion, poor vocal quality can often result from faulty
pronounced with rounded lips, the "ah" can become "aw" or "oh"
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supra:239; infra:252).
freer tone. To sing£l D a n dC.63, the soprano should round the lips
and relax the jaws more than is necessary for singers in other
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-247-
both vowels and consonants with more vital muscle tone in the lips,
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-248-
sound (47:235).
dropped and the lips loose, the vowel is conducive to vocal freedom.
Students should pattern the sound after the Italian "a" and not
For example, many singers insert a short mute CdO after the C s 3
sound before the consonant 111 in the English words "hail," "jail,"
and "bail." Halliday suggests that these words be sung asChe l3>
Cdje 13, £be l l ; not Che d l3 , Cdge Cbe 9 lX In producing the
vowel Co3, the singer should round and protrude the lips slightly
lowering the upper lip and muting the high frequencies. Pulling
recommends touching the tip of the tongue on the lower front teeth
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-249-
lips a bit forward, the lower lip dropped, and the soft palate high
for the neutral vowel C«3, as often happens when the so-called
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-250-
M i nor th ird s
( a - - - - i a i a) j a - - - - £ « £ <Q
g H 3 5) [ ^a0 <3
V v j^ V v
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-251-
p a e i 3 • a iH ja i o e a e o 1 a]
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-252-
first consonant. The singer should keep the meaning of the words
open on all vowel sounds, and the lips should protrude slightly as
words which begin with that letter. Ehmann does not recommend
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International
Phonetic Helpful
Alphabet Hints on
Symbols Examples Pronunciation
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-2 5 4 -
International
Phonetic Helpful
Alphabet Hints on
Symbols Examples Pronunciation
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-255-
the ending and the beginning of the vowel. To keep the proper
vowel shape before he begins the tone. Once started, the vowel
vowels, the tongue, in the opinion of Roe, should lie in the bottom
of the mouth with its tip touching the bottom of the front teeth.
The back of the tongue, however, will vary its position according
for "ee," slightly lower for "ay," still lower for "eh," and
almost flat for "ah." The back of the tongue is highest for "oh,"
and moves progressively lower for "oh," "a," "o," and finally "aw"
(9:93).
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-256-
but the tone should be thought of as coming from the waist rather
"oh" vowel is not successful, the director should ask the singers
back. Since the jaw is high and the mouth is nearly closed, C*J,
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-257-
lowest position, and generally the mouth and throat are more
tongue in the relaxed position used for £cQ , the singer can alle
viate the tension. When singing £<3 and H I, the singer should
touch the back sides of the tongue against the upper back teeth
one set gives ring to the sound and the other adds mellowness to
form a partition between the front of the mouth and the throat.
By moving the hump of the tongue, the singer can adjust the mouth
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-258-
far forward, the "ee" vowel has some "00" quality in it. If the
hump is moved back, the sound will tend to resemble "oh" or "ah"
to "oh," the hump should touch the rear upper teeth. Kortkamp
57-63).
the singer should take care not to overdo the length of the
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-259/-
"oh," remarking that in the latter vowel the lips should be placed
jaw (61:9-14).
vowel and pitch before the sound is sung. For every vowel there
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-260-
84-141).
needs less breath for correctly produced vowels than for poorly
tongue, and jaw upsets the flow of the vowel production. Peterson
When the singer has learned to hear vowels correctly and reproduce
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-261-
tion is required than for the lower pitched male voice, in which
John Howie and Pierre Delattre. Above the first formant, vowels
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-262-
back of the tongue and the soft palate. The open vowels tend to
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-263-
diction (98:133).
that vowels are produced by resonance in both the pharynx and the
modification (53:v).
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Diphthongs
the initial vowel of "ay," "i," "ah," "oh" and produce the vanishing
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-265-
descending thirds, Christy places words using "ay," "oh," and "i"
on each pairof notes, and asks the singer to carry the sound of
the initial vowel to the end of the second note of the pair. The
initial sound on both tones, adding the vanishing vowel at the end
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-266-
Italian "o." In the case of "do," Roe also departs from the
a long "o" and an "aw," favoring the "aw." Enough "o" should be
included to keep the lips rounded and forward so that "aw," and not
ten percent of the time value of the note (59:13). To develop the
diphthong on two pitches. The singer should wait until the last
diphthong 0 : 0 ( 6 0 : 3 ) .
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-268-
Consonants
Halliday.
When two plosive consonants such as "p" and "b," "t" and
"d," or "k" and "g" are connected, Halliday recommends the first
two plosives come together, the first is not imploded, but both are
by placing the lower lip over the upper teeth and raising the
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-269-
essential that the lower lip remain relaxed. Words ending inCf3
beginning with those sounds. When a word ends inCvU , the singer
tion (59:17).
and D>j3 as though they were double and with as much sonority as
follow:
also before "k" or "x." Nasal consonants are always sung on the
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the consonants. The paired plosives "k" and "g" are not always
middle vowel, "k" and "g" are produced with the front of the
with the back of the tongue touching the soft palate. Excessive
C 6 3 between them.
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the tongue rapidly moves back to shape the next vowels. The CM
version replaces the explosive air stream with a voiced sound. To
tightly pursed lips. Singers should never substitute Cv/3 for D*ti
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-272-
be sung with words using "r" in the following manner. First one-
for the final "r." The phrase "Oh, shining star, how lovely
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you are!" should be sung by omitting the final "r" before a pause.
(60:9).
•feefr, - f o i l , - f u l l , -(t o q I .
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-274-
puff, loaf, proof;" "veal, vick, vain, vent, van, vile, voice,
vow;" "leave, give, brave, solve, of, love, prove, move" (60:21).
and attack the next tone in time. Whenever possible Roe recommends
that singers be given a full beat prior to the new attack to allow
time for an adequate release and a full breath for the next attack
(9:94).
scooping and a delayed vowel sound. Roe cites "m," "n," "ng," "1,"
sustaining "m," "n," and "ng" too long, Roe recommends holding the
consonant one fourth as long on the preceding vowel sound and with
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-2 1 5 -
"d," "j," and "g" in tune when they occur at the beginning of
can return to the floor of the mouth in time to produce the next
vowel (9:98).
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-276-
T D tome or dome
tote or toatl
P B £ole or bowl
lojDe or lobe
F V face or vase
a life or alive
S Z seal or zeal
ice(s) or eyes(z)
SH ZH shock or Jacque(zh)
mesh her or measure(zh)
TH TH thigh or thy
teeth or teethe
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-2 1 1 -
should precede the vowel so that the vowel falls exactly on the
articulation (9:101-103).
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flow of the vowels. The vocal consonants "m," "n," "1," and "ng"
may be held for longer periods than other consonants, since they
since vowels are often prolonged to the extent that the listener
tends to forget what word is being sung. The singer should compen
rather than the jaw, which should hang loosely. The "h" and "y"
are the only consonants which involve jaw action. Jaw movement
should be avoided particularly on "d," "1," "n," and "t" when the
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another (51:93).
"z," care should be taken to move the tongue downward rapidly with
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-280-
timing of the vowels is mastered, the "s" may be added at the last
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example, the glides open the vowels and exercise the jaw. Velar
except the labials and "h." The rolled "r," dentals, alveolars,
and the forward "1" pull the tongue out of the throat and develop
"b," "d," and "g" to the pitched consonants "m" and "n." He does
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-283-
can be associated with a light "m," while the "d" and "g" are
consonants (2:60).
action of the lips and tongue can assist the singer in producing
should press the lips together lightly for "p," "b," and "m" and
round the lips for "hw" and "w." In Zone Two, "f" and "v" are
formed as the upper teeth touch the lower lip. The tip of the
tongue should touch the lower edge of the upper front teeth to
form "th." For "t," "d," and "n," the tongue touches the gums
behind the upper front teeth, while the tongue is moved back
slightly from the "n" position to shape "1." The sibilants and
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the gums, it neither touches the gums nor the teeth. When
should keep the consonants at the tip of the tongue rather than
in the back of the throat. Levinson suggests that the "r" should
She reports that "1," "m," "n," "ng," "k," and "t" are the most
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time they should not distort the neighboring vowels. Speed and
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' ; 268). Some authors also emphasize the dramatic and coloristic
line.
Summary
development of resonance.
enunciating vowels.
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Key
907=
FDAP=Fundamental Approach to Diction Pedagogy
807=
•288'
307=
227=
107= 107=
07=
Graph V. The percentage of the fifty-nine authors discussing diction who chose to
write about the fundamental approach to diction pedagogy, vowels, consonants, and diphthongs.
CHAPTER VII
April 25, 1973 and February 22, 1974: Morris Beachy, Administrative
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and learning with respect to each basic vocal element. Each conductor
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-291-
Posture
posture will be erect. As the rib cage rises, the shoulders should
neither slide down nor be pushed up. Singers should sit far enough
forward so that the feet are planted firmly on the floor. To insure
balance when standing, the singer should spread the feet apart with
one foot slightly in front of the other. The arms can be raised
upward and outward, stretching from the shoulder. At the same time,
the head should pivot easily on a relaxed neck as the arm muscles
are pulled outward. The rib cage should rise duringthe movements
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-292-
of the arms and head. When the singer subsequently lowers the
arms while singing basic exercises, the rib cage should remain
expanded (36).
them to sit for a part of the rehearsal period. The singer should
sit with his back away from the chair and his feet flat on the floor
When rehearsing only one section of the group, Moe encourages the
Two ways of sitting are stressed--one for singing and the other for
Moe prefers to work with them individually rather than take rehearsal
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-293-
The conductor must stimulate the group both mentally and physically.
become academic.
be buoyant and free. When breathing, the singer must avoid raising
the shoulders and pushing up the chest. The throat and abdominal
areas should be free from strain. When standing, the singer should
keep the knees slightly bent. If seated, one should sit tall, without
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-294-
relaxed head position. The head should be held well back on the
body so that when looking straight ahead, the singer may be able
to glimpse the chest from the lower part of the eyes. By placing
the hands on the back of the head, with elbows front, the singer
can learn to sense readily the expansion of the ribs necessary for
normal position, the singer should retain the expanded rib position
(45).
upper rib cage should be held high without obstructing the breathing
head and then bringing them down. While performing these acts,
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-295-
If the resultant posture is not good, then the conductor must single
floor and sit up when using chairs. Like Moe, Krehbiel prefers
normal, erect posture and also cautions them against either parade-
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-296-
floor, neither tipping it to one side, nor placing the chin too far
a standing position.
Breathing
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-297-
the upper chest should not collapse. The lower ribs will move as
rose or apple pie. The sniffing brings the diaphragm to the fore
and "f." The singer should not permit the chest to collapse as the
air escapes. When lying in bed, one can observe the abdominal
its downward thrust as much as possible and thereby resist the rising
teeth and lips with the mouth closed, puff out the cheeks, and
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-298-
deep breath and hold it with mouth and throat wide open until the
ribs and diaphragm tire. Since the throat should be relaxed during
breath and exhale through the "k." Although the use of "k"
own breathing daily for five minutes while lying in bed in order to
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-299-
amplify it. The singer's breath should be deep, quiet, and low.
similar to holding the breath under water. In the final step, the
sung with rests in between, but without taking breaths. The singer
determine how long the tone can be held. The imagery of the
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-300-
Mode II, the singer should strengthen the abdominal area in order
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-301-
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-302-
Vanafior I
V’anocf-ion f t
t
Exercise 47. Beachy. Vocalise to extend breath duration
may place his hands on the area below the ribs to feel what happens
as he breathes. The thumbs can also be placed on the back of the rib
actually coming down into the lower part of the lung cavity. The
singer should not raise or lower the chest and shoulders during
breathing.
direct the air further down into the body than inhalation through the
mouth or the nose and the mouth. To energize the singing muscles,
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-303-
asks the singers to check for rib cage expansion by putting their
hands to the sides, with body straight and shoulders down. Flummer
breathing, the singer should keep the throat open so that one
does not hear air gushing in. Inhalation should be rapid and
does not interfere with the work singers may be doing with a
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-304-
sound such as "ee" in the low range of the voice near the speaking
pitches. The singers should open the throat gradually from "ee" to
demands the most space in the mouth, while "oh" and "00" require
staccato arpeggios for women and ascending marcato arpeggios for men.
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-305-
control from the abdominal walls and to check against the heaving
singing the phrase legato while retaining the animation and rhythmic
a predetermined place.
check for correct rib cage function and proper laryngeal position,
less tense and nervous in the choral rehearsal than in the studio.
take over and allow the singer to breathe more freely (41).
them to hold the breath before they start to sing. Brown considers
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-306-
The nature of the music and the length of the phrase determine the
should know how to stagger their breathing and begin all entrances
on time. Also singers should sit tall and breathe deeply and
naturally (37).
As the group sustains the tone, the conductor can walk across the
room as the tone unfolds, with his hand stretching outward to show
breathe (42).
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-307-
Relaxation
conductor.
Care must be taken not to rub too hard or the rib muscles will
manner. Jumping in place not only loosens the body, but the
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-308-
over his face and jaws, he can remind the singers to open the
muscular relaxation.
know the music, and when the conductor has a clear, secure
that the proper parts of the body are relaxed and flexible. To
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-309-
varied by having the singers stand, sit, and sometimes walk around
Singers can also stand around the perimeter of the room and sing
toward one another, or certain groups can move to the front of the
room and sing for the others. By bending over and singing, there
will be produced. Since the muscles pulling the lower jaw upward
tongue consists of vocalizing with "1," "kl," and "gl." The back
of the tongue is exercised by the "k" and "g," while "1" tends to
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-310-
for awhile, and by discussing with the singers the musical problems
other times they can listen. For example, three parts can hum
while the fourth part listens. Both conductor and singers should
discuss the tonal qualities for which the students should listen.
to take time during the rehearsal for some activities which relieve
shoulders, arms, and back. The length of time Moe spends on the
he may prolong the physical activity to bring the mind and body
stretching, with the hands together and over the head. Subse
quently the singers should extend the arms up, out, forward, and
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-311-
lean over and touch his toes or massage his own neck. While
artificial, humor can take the singers' minds off the rehearsal
for a few seconds. Beachy does not tell jokes, but finds that
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the body.
should identify witt the singers' problems and build the music
(36).
the floor at the moment the highest tone of the arpeggio is sung.
vocalises.
The gesture reminds the singer that all the articulating muscles
should be free, since singers tend to relax the throat and jaw
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tion in a rehearsal that has become too intense. He does not plot
conductor can help bring about the kind of total involvement that
the tongue, "yaw" loosens the back of the tongue, and "caw" tends
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their physical development, are usually better coordinated and less
Proper breathing and correct attack are necessary for a free tone.
If the breath comes before the sounds, staccato exercises can help
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Resonance
resonance.
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sing at a lower dynamic level for several months before any weight
pitches within the interval may be resonant and the other nearly
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the sound after the attack while simultaneously opening the vowel
such as "that" and directing the sound toward the hard palate as
between the hyoid bone and the thyroid cartilage should be open
for maximum vocal freedom. If the singer tenses the throat, the
hyoid bone closes the throat space and hooty, nasal, and throaty
palate and thereby block off part of the throat. Swan recommends
hey-hey," in full voice. These sounds build body in the upper tones.
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"Where shall I kick her today?" Swan believes that the vigorous
arpeggios add virility to the male voice quality. Women can build
are to carry the ugly chest register into the upper registers for
middle register, one should keep the feeling of the more vital
strengthened.
not sing too far back in the throat with a pompous sound, while
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more nasal tone on the ascending pitches. When the nasal quality
is mastered, the singers may add the syllables "yu," "yoh," and
"yah" (45).
"name." The tip of the tongue lies lightly behind the upper teeth.
If the singer places the little finger on one cheekbone and the
thumb on the other, letting the rest of the hand touch the head,
"hen-ee, hen-ay, hen-ah." After singing the first "n," the singers
should think the resonance of the "n" when carrying it into the
present. Moe believes all voice teachers would agree that this
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cousists of singing "do" on each tone of the following pattern of
hing-ay, hing-ah" on each pitch. Using the legato style of Mode II,
iU -jp
meerm^mcxh-
w
m oh-
Q'__
m oo
conductor may ask one section of the choir to sing a scale, adding
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When these freedoms are established, the breath takes the entire
hip-ee, hip-ay" are also sung, again moving the pattern upward in
half steps.
in the throat. When they later sing legato, they already know how
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with "nah" on the first tone, "noh" on the second, and "noo" on
resonance.
concert, McElheran places his hand over his own masque area or
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where applicable.
sound.
mature tone. All the choristers sing "ya" down and up on five-tone
scale patterns, holding the last tone for an extended period. The
style.
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"oh." The women should point the lips on "ee" to add depth to the
to hum as the back of the hands push the cheeks toward the nose.
If the lips are relaxed and barely parted, the singer should feel
suggests moving from the hum to "oh" which seems to be the least
ahead rather than one which rises and falls. Singing descending
who may carry too much vocal weight upward on ascending scales (39).
a dog or blending a cry into singing tone. One can also develop
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of many things. Focus and full impact of the tone must be kept,
support can cut off resonance. Brown uses a hum coupled with "v"
Hirt recommends singing from "uh" to the dark vowels and eventually
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without any music. Occasionally Hirt asks the men to imitate him
as he shouts (41).
or dark vowels do not protrude from the vocal line and mar it. In
Krehbiel emphasizes the need to energize soft tones more than loud
while the color of the tone also moves from light to dark. The
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vowel modification and coloring. Swan and Decker work to open the
resonance exercises.
Diction
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McElheran ties diction to rhythm by placing final consonants
rather than timing the individual sounds. McElheran also makes his
sing with a poor choral tone quality. Since the ideas of singers
needed.
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frequently used.
one flip of the tongue, since the trilled "r" tends to close the
and before the beat. The word "glory" should contain a flipped
at the moment it occurs, but for several tones before and after as
well.
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them on the ictus of the next beat. The success of the beginning
certain sounds, the sounds are simple to teach. Once the students
are familiar with the chart, future problems can be related to it.
enunciation. The conductor should break the word down into sounds,
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chorister. Each singer should be able to sing the same "ah" as the
of the sound but also the duration of the tone. The director
singer deals with words, they become his tools in shaping phrases.
exercise the mouth, lips, and tongue. Tongue twisters can be good
include substituting "r," "b," or "1" for the "m." The repetition
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muscles.
placing rests between the notes. When the phrase is then sung
acceptable.
Fountain, should know all the phonetic sounds and how to produce
should lead to vowels, since the consonants also are a part of the
musical line and should not be neglected. When the singer learns
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(40).
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improves.
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and "w" without disturbing the flow of the vowel stream. Decker
singing softly.
consonants is taken from the music prior to the beat. Decker, like
"boh-bay-boo-bee-bah-poh-pay-poo-pee-pah."
good diction. If the tongue is too high in the mouth, the student
should practice singing "ah" with the tongue over the lower teeth.
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distinct "oh-ah-oh," noting that both sounds come from the same
it. Often he asks the singers to sing a piece on only the vowels
consonants, particularly the liquid "1," "m," and "ng" which aid
consonants which have pitch such as "z," "zh," "f," and "v," help
"sh," "f," and "k" should not be given too much weight, since they
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(41).
that vowels carry the tone quality of the choir. He also emphasi2es
a neutral syllable between the "g" and "1" in order that both
that have pitch and duration, such as "m" and "n," to give elasticity
(112; 42).
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lectures.
of diction.
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other conductors.
Howard Swan. Swan views the goal for both studio and
and the rehearsal. In the former case, balance is with the piano.
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music (45).
production when the tone goes awry. At this point, the teacher
can stop the singer and find ways to extend the compass of ade
more in choral singing. The solo singer can learn much in the
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desirable goals for the soloist that are not often used in choral
accurate pitch and suitable vibrato than the soloist, who frequently
the others listen. Beachy feels that a great solo singer can sing
choral music all solo techniques may not be needed to the degree
bel canto style with free flowing, clear, pure vowels. In the
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(38).
(42).
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work. The primary skills that can be learned in the rehearsal are
he often has little time left for teaching primary skills. The
perfectly, the section as a whole can learn to sing them well, and
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time, the conductor can run parallel workshops to teach not only
may have his mouth open too wide already. In spite of the dangers,
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they seem to. find difficulty putting them into words. Swan
mentions that some of the newer books are good sources of style
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like Vennard (78). All books, in the opinion of Beachy, lack the
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-347-
the other hand, those to whom singing comes easily probably have
tone-building and support, but books generally say too much about
fundamentals (44).
question whether any book can teach vocal technique. With the
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-348-
(45).
conductor with a good ear and the ability to express himself well
in terms of color, music, and ideas can have much success with not
Daniel Moe. Moe also recognizes that there are fine choral
pedagogy, but for the most part they are working with fine
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the vocal health of the ensemble, the conductor should know the
voice. Moe does not regard highly the potential choral conductor
(38).
have had vocal training are better able to prepare a more varied
choral sound than those who have not pursued vocal study. He
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from a corporate body. The conductor who cannot empathize with the
the performance will improve unless the voice culture becomes self-
than develop the voice; he should also communicate for the composer.
and when they see results, they continue in the direction of the
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believes that in the high school and in the church choir the
college choir. In the church setting the conductor may even have
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notes that most of the leading choral conductors are not voice
teach tone with a rapid explanation that can change the choral
choral conductor does not see each student one hour per week for
and Hirt consider the skill important but not necessarily essential
choral conductors are not singers and imply that the approach of
Standardization of terms
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profession (41).
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(45).
an experience (37).
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in published literature.
hears and how he should react to it. He must know the voice and
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-357-
more from a bad conductor than a good one. Students should listen
about the techniques of their conductors and how they solve the
Ninth Symphony, and one cannot know the Ninth Symphony without
One cannot know much about choral music if he does not know some
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in such a personal way that one can be truly inspired by the poem
believes that the novice conductor should study studio voice for
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-359-
heart and a mind that move beyond the techniques of music into
arts." (44)
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interpretation (45).
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not only to the music but to his rehearsals. Decker finds the
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-362-
conductors (41).
music apart, study its form, and understand what the composer
wants. The ear should be trained for pitch, color, and balance.
conductors.
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-363-
Moe, Decker, Krehbiel, and Brown. Brown believes that the best
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-364-
study should inspire and encourage the reader to try new ideas. In
some great teachers have no set form to their teaching, and perhaps
certain formula for success. He must develop his own method, which
(41).
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-365-
conductors should do all they can to elevate the art and keep it
his own vocal and musical decisions, using his own initiative
under the teacher's guidance. Brown states that the conductor who
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(37).
preting the music with a sound that reflects the stylistic period,
the text, and the mood of the music. Singing should be a total
vocal training.
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Summary
conductors are all vital people, excited about their work. The
study and gave freely of their time to bring about its completion.
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CHAPTER VIII
Summary
rehearsal.
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-369-
Since many choral conductors are pianists, organists, or
and responsiveness.
In the opinion of the writer, the study can lend structure to the
teaching of voice and also encourage both the voice teacher and
Conclusions
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-370-
study.
Published literature
singer can learn to develop a body that is both flexible and well
The chorister can learn the correct positions of the head, neck,
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student, specific breathing exercises can be practiced in the
parts of the body so that they may function freely for successful
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-372-
the upper voice and blend the registers, and the development of a
reveals that both the conductor and the voice teacher should be
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-373-
to diction.
Interviews
terms of the needs of the singers and the demands of the music.
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-374-
performing group.
concerned with the five vocal elements, but they are also interested
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-375-
backgrounds.
the singing of most students, even the college voice majors, will
terms of sound.
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-376-
traits that set him apart from the ordinary person. These leaders
very best they can produce. Choristers sing well for the
conductor.
Re comme nd a t ions
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A. Based on conclusions of the study
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BIBLIOGRAPHY
Books
Articles
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23. Lowrance, Robert S., Jr. "Vocal Preparation for the Choral
Year." The Choral Journal I (May 1961):4.
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-382-
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40. Fountain, Robert. Yale University, New Haven, Connecticut.
Interview, 28 November 1973.
Books
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-384-
55. Fracht, Jack Albert. You, Too, Can Sing. New York:
Chemical Publishing Company, 1960.
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-385-
75. Schiotz, Aksel. The Singer and His Art. New York: Harper
and Row, 1969.
Articles
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-386-
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-387-
Books
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-388-
Articles
Unpublished materials
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