What are the 3 key elements of Manuel Garcia’s definition of
register? a register is composed of contiguous pitches, pitches within any given register are produced in the same physiological manner, pitches within any given register share the same basic 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. that the most perfectly blended voice will still exhibit at least two primary registration events related to laryngeal physiology
What are the components of the physiological events related
to register? the manner in which the vocal folds vibrate and the configuration of the glottis
Describe Mode 1 glottal source known by many as chest voice, vocal folds thickened by contraction of TA, significant vertical phase difference
Describe Mode 2 glottal source falsetto, head voice in women, cricothyroid dominant
Discuss the difference in closed quotient in Mode 1 vs Mode
2. vertical phase difference is greater in Mode 1 and in Mode 2 it can cease to exist entirely
How do the ranges of Mode 1 and Mode 2 differ for men and
women? Men are generally able to maintain Mode 1 for a wider range of pitches than women
What are the 2 main transitional areas where changes must
occur in source or resonance modes for women? primo passagio, secondo passagio
What strategies do we use to negotiate the primo passaggio
for women? modify vowels to make them more closed
What strategies do we use to negotiate the secondo passaggio
for women? breath support must be modulated to avoid excess subglottal pressure
What is vowel exchange? How is this different than vowel modification? singing a completely different vowel than what is written; modification implies only slight change of the existing vowel
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 passagio: between F3-C4, secondo passagio: C4-A4; all of these share mode 1 as their glottal source
What strategies do we use to negotiate the transition into
the upper extension in male voices? closing the vowel slightly
What does Ken Bozeman’s research say about the primo and
secondo passaggi events for men? that the primo and secondo passagi of men might just be a single event that stretches over a wide range of pitches
How does he suggest men negotiate this transition? By modifying vowels so that F1 of the vowel being sung continually falls below 2F0
What do developing singers do instead? What kind of sound do these strategies
result in? they allow F1 and 2F0 to proceed up the scale in lock step which leads to a timbre that sounds less like singing and 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? they add nasality to break the lock between F1 and 2F0; the downside is it alters the timbre
What is reinforced falsetto? Mode 2 vocal production that is well supported and has sufficient glottal closure
Which glottal source mode is used in female belt? Mode 1
How does the spectral envelope for female belting differ
from male head voice? In the male head voice a balanced chiaroscuro timbre is desired whereas in female belt the balance shifts almost completely to the chiaro side
What does formant tuning in belting differ than in classical
singing? instead of closing vowels to aid the transition from mode 1 to mode 2 they open vowels to bring 2F0 and F1 closer together
What are the 3 physiological strategies used for belt
resonance? lifting the larynx, narrowing the pharynx, and increasing the horizontal opening of the mouth
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