Chapter Summary: Articulation is the next pillar of importance. Without articulation singers cannot fully communicate ideas and emotions to their audiences. More importantly, the human voice is the only instrument that can communicate with words. We must learn to articulate while maintaining mobility and release in the articulators.
In language we find shape through consonants and vowels. When vowels are combined with energy from shape in the articulators it is called vowel formants. "Vowels change their modal formants according to the effects of both frequency and intensity shifts. As a basic rule, the louder or higher, softer or lower a vowel is sung, the more it will migrate in color." Consonants are what interrupt the sound and the airflow. Both consonants and vowels are crucial to giving the text meaning. Language can be broken into single units of sound called phonemes. The more free the singer is at creating phonemes, the better the articulation, and the sound will be.
In the vowel exercises we begin with the primal schwa. This should be the underlying primal feeling of all the vowels, with differing shapes formed by the articulators.
Diphthongs are used in English to convey certain vowel sounds in which there are two vowel sounds present (one stressed, one unstressed). There is also such thing as a triphthong.
"Consonant formations are made anterior to vowel formations." Consonants must be timed to be before the downbeat. Vowels are to happen on the beat, so precise timing must be found by the singer. We must think of consonants as having pitch. "Because the larynx is suspended from the bottom side of the hyoid bone and because there are so many inter-relations of the nerves serving both the muscle adjustment for pitch and the movements of the articulators, you need to isolate each action as much as possible." "When properly executed, consonants give energy to the vowel and character to the text."
Oren uses the vowel triangle to indicate closed or open vowels. The closed side is shaped primarily by the tongue, and the open side shaped primarily by the lips.
Vowel modification isneeded to facilitate smooth transitions from high/low, soft/loud. For higher frequencies, there must be a larger resonating cavity to accommodate the sound. In the higher range Oren suggests to "keep thinking the vowel you want to sing, but allow the articulation positions to relax into more space." Keep the face muscles relaxed, while maintaining an open throat.
Remember to open the space between your back molars. And last but not least, keep both your singing and speaking habits healthy, and it will show in your performances.
Key Terms: formants, vowel formant, unvoiced/voiced consonants, open/closed vowels, phonemes, diphthongs, triphthongs, consonants, cognate, vowel modification,
Key Concepts: Language is given shape through small units of sound called phonemes. The frequencies of overtones change the color of the vowel. Both consonants and vowels are important to communication of the text. The Voice is the only instrument that combines with text to heighten the meaning of the music.
Making Connections: I often find that I am misunderstood, and the reason why I love to sing is because I feel like I get a few moments to really show and communicate to my audience what I want to say. I want to continue on the path of discovering articulation through vowels and consonants so that I can be true and authentic in my performances. I think this will be something very important to instill on my students. Articulation must be free and present in order for the expression to evolve.
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