What are the 3 key elements of Manuel Garcia’s definition of
register? 1-register is composed of contiguous pitches, 2-pitches within a register are produced in the same physiological manner, 3- pitches within a register share a similar timbre
While classical singers learn to unify the voice into a
single register (or at least this is the perception of the listener), what does
voice science have to say about this. Even the most perfectly blended voice will still have at least two laryngeal physiologic registration events, along with acoustic adjustments for formant tuning.
What are the components of the physiological events related
to register? the manner in which the vocal folds vibrate and the manner in which the glottis is configured
Describe Mode 1 glottal source vocal folds thickened by TA contraction--this makes a square-shaped front cross section of the folds at the glottis, and has significant vertical phase difference
Describe Mode 2 glottal source pitch modulation determined largely by CT contraction--this thins and lengthens the vocal folds, creating a triangle front cross-section, with narrow area of contact, and minimal vertical phase difference
Discuss the difference in closed quotient in Mode 1 vs Mode
2. closed quotient is higher in mode 1-- usually greater than 40%, and sometimes reaching 85%; CQ is generally lower than 40% in mode 2, but can rise significantly in high pitches sung loudly
How do the ranges of Mode 1 and Mode 2 differ for men and
women? for women--the 2 modes can overlap greatly, mode 1 usually is carried up to somewhere in the C4 to F4 range, but can be extended, mode 2 can usually come down to C4;
for men--mode 1 is used throughout the entire range except for singing in falsetto, the range is dependent upon the singer
What are the 2 main transitional areas where changes must
occur in source or resonance modes for women? C4 to A4--the primo passaggio, and E5 to A5, the secondo passaggio
What strategies do we use to negotiate the primo passaggio
for women? use a top-down approach, modify vowels to more closed positions, manage breath pressure--don't use excessive subglottal pressure
What strategies do we use to negotiate the secondo passaggio
for women? careful with breath support to not use excess subglottal pressure, vowel modification or exchange to closer to [a], dropping the jaw
What is vowel exchange?
How is this different than vowel modification? vowel exchange is a more extreme form of vowel modification. Because of vowel/formant relationship, some vowels are extremely hard to sing at higher pitches, so the vowel can be exchanged for one that is possible to sing more easily.
What are the 2 main transitional areas where changes must
occur in source or resonance modes for men?
Which glottal source mode is used below, within, and above these
transitional areas? primo passaggio at F3-C4, secondo passaggio at C4 to A4; all use mode 1 as the glottal source
What strategies do we use to negotiate the transition into
the upper extension in male voices? formant tuning--matching specific vowels to specific pitches, closing the vowel slightly
What does Ken Bozeman’s research say about the primo and
secondo passaggi events for men? it might be a single event that stretches over a wide range of pitches
How does he suggest men negotiate this transition? lower the larynx, slightly close the vowel
What do developing singers do instead? What kind of sound do these strategies result
in? instead of lowering F1, they continue to raise it, making the sound more like yelling
Some male singers use an alternate strategy for negotiating
the passaggio and entering the upper extension?
What is this strategy and what is the downside of this approach? some male singers add nasality which can help produce higher pitches in mode 1, but this can sound bad
What is reinforced falsetto? a confusing term for a strong mode 2 sound, but actually is probably a quiet mode 1 production
Which glottal source mode is used in female belt? mode 1
How does the spectral envelope for female belting differ
from male head voice? female belting--chiaro, bright, brassy; male head voice--chiaroscuro balance
What does formant tuning in belting differ than in classical
singing? belting--vowels are opened to align 2Fo with F1 and to carry mode 1 up higher; classical--vowels closed more to aid transition from mode 1 to mode 2
What are the 3 physiological strategies used for belt
resonance? 1--lift larynx, 2--narrow pharynx, 3--increase horizontal mouth opening
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