Laura B Chapter 10

Laura B
Chapter Summary: This chapter focused on how we can continue to find a chiaroscuro balance, more specifically a legato, in all aspects of our singing. These aspects included vowel definition, in which the most freeing vowels should be used and the importance of maintaining integrity of each vowel without distorting it. It also included consonants, in which we can continue to keep a release of are jaw, a legato line, and a steady airflow by cleaning up our consonants and avoiding shadow vowels. Diction is also important, where we shouldn't try to spit out and over-annunciate the words we sing, but instead look underneath the pronunciation and express the emotional truth of the situation. This balance also included musicality, in which singers should not try to pretend to sing musically like an instrument, because the instruments are really imitating singers. Singers should merely strive to sing freely and the musicality will come along with it. The balance can also help with understanding how to create softer dynamics in the voice. Instead of decreasing our airstream, we should keep a consistent air flow and just decrease the intensity of our voice. No matter what kind of voice type we have, big or small, every singer has the ability to sing with more agility on fioratura. The author gave some suggestions of exercises that a singer can do to increase their vocal agility. Lastly, as we seek to find a balance in our voice as we sing classical music, this can translate into any style of music. We have the ability to sing any style in a healthy and free way as we work on the chiaroscuro balance in our voice.
Key Concept: In everything we do while singing, we should seek out the healthiest and freest approach of doing it.
Key Terms: "play the game," legato technique, vowel definition, "channeling the air," "vowel modification," separation of function, vowel substitution, French nasal vowels, consonants, shadow vowels, diction, musicality, intonation, dynamics, agility, fioratura, pulse, staccato, supraglottal, wide intervals, stylistic differences, belting,
Making Connections: This chapter was chalk full of lost of good stuff! In my own personal singing, I often revert to unhealthy ways of singing because it is what I have become used to and am comfortable with. Before coming to college, I sang a lot of musical theatre and took pride in my big belting voice. Since studying classical singing, I have been afraid to sing that way but have also missed singing in that style, along with other styles. This chapter brought a lot of hope to me. I don't have to stop singing other styles. I now have the materials needed to learn how to sing them in a healthier and freer way. I look forward to applying all of the things learned in this book.