Jake TNV chapter 10

This chapter talks about keeping the legato line in all types of singing, and the different aspects that go along with it.
Vowel definition: we do not have to modify our vowels in order to sing higher and with a more healthy sound. The only things that have to change are the articulates and tongue placement. If it is done correctly you should be able to sing any vowel ion it's pure form at any range.
Consonants: he emphasizes making sure that the air flow doesn't stop while articulating consonants. This can cause stress and vocal strain.
Diction : sometimes someone can have perfect diction, but we still can't understand what they are saying. This us due to the text being very poetic and different than what we are used to hearing in our vey day speech. We need to also remember that with good diction should come a good communication of the emotion that the text is trying to convey.
Musicality: singers should sing likes singers, not like other instruments or a certain "voice type" instrumentalist do things to imitate a vocalist, so highly should we try to do something that will make us sound like another instrument?
The last thing he talks about is that if we exhale free legato line, we can apply that into all types and styles of music. Country, pop, folk, whatever it is, if we apply the legato line and change the way we sing the LANGUAGE, we wil have a healthy voice and a long career.
Key Concept : main ting the legato line in all aspects of singing is paramount
Key terms: vowel definition, consonants, diction, musicality.
Connections: holy moly I feel like this chapter was jam packed with tins of awesome information! I especially liked the idea of keeping the same pure vowels throughout the highest aorta of our range. Thomas Glenn emphasized that when he was here too. Lots of things to think about and apply for sure.