- Legato Technique: It is important to maintain the integrity of the vowel shape throughout the entirety of the voice's range. This can only happen when we are articulating the vowels with free phonation and airflow. To find this unity of the vowel definition one can use the sigh-like legato line while speaking the text, because vowels are sounds that do not interrupt the airflow. Changing vowels in the top of the voice can make sound freer, however it isn't a genuine or healthy technique to fall back on. Additional jaw movement isn't necessary. We can maintain the same unhinged jaw sensation when singing all of the vowels. The difference occurs in the separation of the tongue from the jaw. "The goal is to use the lips and the tongue to channel the air along the sigh path without tension in the jaw." The lift of the soft palate occurs independently with the correct channeling of air. Vowel substitution is when "we find a vowel that when sung sounds authentic but allows for free-flowing air." Consonants are a different story. Consonants create a partial or complete interruption of the airflow; in other words they partially break the legato line of proper singing. Like in the phonation of vowels, the jaw must be unhinged with the tongue separated no matter what we are singing. This may sound sloppy, but rather it makes them more clear, and promotes the airflow. Double consonants can inhibit the legato line as well, however we can double them in a way that promotes the propulsion of the legato line. One must be careful while singing double consonants to not increase sub-glottal pressure, as this decreases airflow. Shadow vowels are only helpful when they are used at the end of phrases (i.e. "God-[I]"). The trick is to keep the tongue in a higher position so that the vowel alignment remains. "The principle way to avoid this habit is to sing through all the final consonants while connecting to the following initial consonants without opening the mouth, which is what causes the shadow vowel. If the legato line is maintained, the resultant airflow will still catapult the consonant out to the audience and transmit clearly." When singers can find the balance of maintaining free-flowing airflow through the phonation of vowels, with minor interruption of breath through consonants they will find a genuine and expressive timbre.
- Diction: Diction=anti-legato. Over-pronouncing can cause unwanted tension, and interrupts the sound and airflow. Diction is the means to an end, not the end goal. Perfect diction is not always understood, however the music is there to help tell the story, and the deeper metaphorical intent. We must find a balance of pronunciation and conveying emotional truth, compositional intent, expression, and airflow to sing with clarity.
- Musicality: Musicality isn't musicianship. Musicianship is the base of music learning: rhythms, dynamics, pitches, & tempos. Musicality is implementing expression into the components of musicianship. Musicality is expressed through appropriate shape of phrasing, variety in color, and the ebb/flow of tempo -- all guided by the emotion of the piece. Musicality is a mark of proper vocal production. We can find our inherent musicality by singing freely and with intent.
- Dynamics: Singing softly requires consistent airflow while decreasing intensity of phonation. When learning music, we should ask ourselves why a composer placed a certain dynamic marking there. Sometimes it isn't as much of a change in dynamic, but rather a change in color. We must maintain airflow, and release to sing softly. When crescendo occurs we energize the airflow without increasing vocal resistance.
- Agility and Fioratura: Practicing agility through Fioratura passages is crucial to vocal health and longevity. Learning to sing Fioratura passages well, will help to free tension in the voice. Good Fioratura singing is not singing note by note, but in a legato contour or shape of the phrase. Learning these types of passages can be made easier by following these steps: 1. divide into pulses 2. Singing pulses w/legato 3. Sing all notes pulse by pulse 4. Combine two pulses at a time 5. Combine all pulses. By focusing on pulses, we can learn how to phonate the other notes, while maintaining airflow, and freeing the voice.
- Singing Staccato (with legato): Staccato=detached. Thinking of staccato notes as short is incorrect, as it tends to stop consistent airflow.
- Dealing with wide intervals: Wide intervals can cause a challenge in maintaining the legato line. Singers must maintain the airflow while shifting seamlessly between gears.
- Dealing with stylistic difference in music: Free vocalism=good vocalism. We must learn to sing with our own voices freely in all styles of music. Singing freely with one's true voice is crucial to discovery of possibilities, and in return the correct repertoire will be revealed.
- Singing nonclassical styles: The difference between classical style and the other genres is the use of the text. "Refined vowels, enhanced airflow, and greater resonance are essential to projecting a voice in a large concert hall or opera house." The more freedom we maintain in our phonation the freer we will be able to sing in any style. Singers should be maintaining integrity of communication in whatever genre they are singing.
Key Terms: playing the game, vowel substitution, shadow vowels, Fioratura, musicality, musicianship, agility, pulses, staccato,
Key Concepts: Diction=anti-legato, Diction is the means to an end, not the end goal, over-pronouncing can cause unwanted tension, and doesn't not convey the bigger picture. There is a difference between musicianship and musicality. Airflow should be maintained through crescendo and decrescendo. Practicing Fioratura passages are crucial the healthy and longevity of the voice. Free vocalism is good vocalism. The more freedom we attain in phonation, the free we will be to sing in any style we want. Singers should be maintaining integrity of communication in whatever genre they are singing."The singer/actor should not change singing technique from one style to the other. He or she should only change the way he or she uses the language."
Making Connections: I have been desperately working on unhinging my jaw, and maintaining space between my molars this semester. The section of legato technique has opened my eyes, and really given me something to think about, and not chew on! ;) I am excited to implement the idea of maintaining the airflow and legato line by using my lip and tongue as articulators. This will help with entangling my voice, and perhaps help me with lower laryngeal position.
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