Summary: The inventions condition us to play the game. Actually singing the music is the real game play. Playing the game is different than the conditioning, it requires us to be spontaneous, flexible and to think quick on our feet. Vowels tend to cause problems for singers if they are not properly defined. A singer must define each vowel so it is absolutely free of any entanglements. One must also realize that any vowel on a higher pitch can sound just like itself but won't feel the same way it does in speech. Some vowels must be substituted for others to achieve free flowing air and the desired sound. Consonants, are a partial or complete interruption of airflow. We must learn to articulate these with as little interruption to airflow as possible. We can achieve this by learning to articulate clearly with the lips and not include the jaw in the consonants. Expressiveness and dynamic change does not happen with increased pressure, but with increased airflow. In any case and in any style the concepts for good singing remain the same.
Key Concepts:
Let the vowels be free from entanglement
Crisp consonants free from jaw and with minimal interruption of airflow
Dynamics accomplished with amount of airflow, not increased pressure.
All voices should be able to sing fioratura because it requires us to be free!
Classical concepts are fundamental and can be applied to all types of singing.
Key Terms:legato technique
Connections: I liked what this chapter emphasizes about free vowels and uninhibited consonants. I definitely feel like I could work on this in my own singing. The change of dynamic level is a struggle as well. There shouldn't be an increase of pressure when crescendo-ing. Being present and free in the singing will allow a lot of these things to happen naturally.
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