What are the 3 key elements of Manuel Garcia’s definition of
register? 1. A register is composed of contiguous pitches. 2. Pitches within any given register are produced in the same physiological manner. 3. 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. This is not the actual case. The most perfectly blended voice still exhibits certain physiological events.
What are the components of the physiological events related
to register? how the vocal folds vibrate and how the glottis is configured.
Describe Mode 1 glottal source- The vocal folds are thickened by contraction of the TA muscles. Greater mass per unit of length and a square shaped glottis when viewed from the front. There is significant vertical phase difference during each cycle. Relatively short folds with little longitudinal tension so the amplitude of vibration is high.
Describe Mode 2 glottal source- Pitch modulation now relies heavily on contraction of the CT muscles. These elongate and thin the VFs. Glottis is triangular from the front view with a narrow area of VF contact during phonation. Relatively long VFs with increased longitudinal tension so the amplitude of vibration is low.
Discuss the difference in closed quotient in Mode 1 vs Mode
2. closed quotioent in mode 1 is relatively high, more than 40% CQ increases with ascending pitch and increased amplitude. Mode 2 CQ drops below 40%.
How do the ranges of Mode 1 and Mode 2 differ for men and
women? females will switch from 1 to 2 somewhere between c4 and f4. Males can use mode 1 throughout their register reserving Mode 2 for falsetto and marking during rehearsals.
What are the 2 main transitional areas where changes must
occur in source or resonance modes for women? first transition is in the primo passaggio between c4 and f4 where women will modify bowels toward a more closed position. The secondo passaggio is the second area which happens toward the top of the musical staff between e5 to a5.
What strategies do we use to negotiate the primo passaggio
for women? top down strategy
What strategies do we use to negotiate the secondo passaggio
for women? lowering the jaw.
What is vowel exchange?
How is this different than vowel modification? modification suggests that a minor adjustment is all that is required. Exchange implies you are changing out a vowel that doesn't fit for a vowel that does.
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 and secondo passagio
Primo causes little problem for most occurs between F3 and C4 it is the zone where the larynx is likely to elevate. Stabalize the larynx.
Secondo occurs between C4 and A4 pitches lying beyond this are said to be in operatic head voice or upper extension.
Pitches below within and above these transitions all share mode 1 as their glottal source.
What strategies do we use to negotiate the transition into
the upper extension in male voices? Matching appropriate vowels to specific pitches is especially important. It is exclusively a realignment of resonance.
What does Ken Bozeman’s research say about the primo and
secondo passaggi events for men? That they might be a single event that stretches over a wide range of pitches. This solitary passagio is the point in the scale where 2F0 sweeps above f1 of the vowel that is being sung. The location of this event shifts up and down according to the movement of the formants. lower of closed vowels and higher for open vowels. [i] and [u] make their transition to the upper extension no later than G3. [a] waits until G4. This passagio can be navigated more easily by subtly closing the vowel or slightly lowering the larynx. Both of these things lower the first formant to a frequency below that of 2F0. The trick is to break the f1 2F0 bond without excessibely distorting diction to do this you must lower F1 if you keep them on the same track ascending F1 rather than lowering it you will get a sound more like yelling.
How does he suggest men negotiate this transition? lower F1
What do developing singers do instead? What kind of sound do these strategies result
in? rasie f1 and 2f0 at the same rate causing bad vocal technique and a yelling sound. lifting larynx or spreading the vowel.
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? add nasality to break the lock, but this is done at the price of altering basic vocal timbre.
What is reinforced falsetto? To rock and blues singers it is loud, well supported mode 2. To classical pedagogues it is light easy voice production that can serve as a bridge into the upper extension.
Which glottal source mode is used in female belt? Mode 1
How does the spectral envelope for female belting differ
from male head voice? Male head voice is a perfect mix of chiaroscuro but female belting leans heavy on the side of chiaro with a bright, brassy timbre
What does formant tuning in belting differ than in classical
singing? belting relies on speech like vowels. WHere classical singers would start to darken vowels the belters choose to open voewls that associates 2F0 and F1. this helps maintain mode 1 vibration with ascending pitch which enhances the brilliant edgy quality.
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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