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. It is not actually the case. The most perfectly blended voice will still exhibit at least two primary registration events related to laryngeal physiology, accompanied by acoustic adjustments released to formant tuning.
What are the components of the physiological events related to register? Changes in the voice source relating the manner in which the vocal folds vibrate and the glottis is configured.
Describe Mode 1 glottal source. The vocal folds are thickened by contraction of the TA muscles, resultin in greater mass per unit of length and a square shaped slottis when viewed in frontal cross section.
Describe Mode 2 glottal source. Pitch modulation now relies more heavily on contractino of the CT muscles, which simultaneously elongate and this the vocal folds. The glottis assumes a triangular shape in cross section with a narrow area of vocal fold contact during phonation.
Discuss the difference in closed quotient in Mode 1 vs Mode 2. There is a greater closed quotient in Mode 1.
How do the ranges of Mode 1 and Mode 2 differ for men and women? Most women have a range of pitches that can be produced using either mode. Men, however, almost exclusively use Mode 1 throughout the total voice range, with Mode 2 reserved only for falsetto singing.
What are the 2 main transitional areas where changes must occur in source or resonance modes for women? Primo passaggio: somewhere between C4 and A4. Secondo passaggio: approximately E5 to A5.
What strategies do we use to negotiate the primo passaggio for women? Modifying vowels toward a more closed position and modulated breath pressure.
What strategies do we use to negotiate the secondo passaggio for women? As with the first transition area, breath support must be carefully modulated to avoid excess sub glottal pressure. This transition, however, is a change in resonance, not in source.
What is vowel exchange? How is this different than vowel modification? Changing the vowel to something that can actually be sung at the given frequency. Vowel modification suggests that a minor adjustment is all that is required.
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? The first transition, or primo passaggio, is a "non-event" for many men. It occurs somewhere between F3-C4. The second transition is seen to occur somewhere between C4 and A4, which would be defined as the secondo passaggio. Pitches below, within, and above these transition zones have one thing in common: they share Mode 1 as their glottal source.
What strategies do we use to negotiate the transition into the upper extension in male voices? Formant tuning, by matching appropriate vowels to specific pitches, is especially important when making the transition into the upper extension. Men often interpret their change as a similar physiologic event; it is, however, exclusively a realignment of resonance.
What does Ken Bozeman’s research say about the primo and secondo passaggi events for men? Further investigation of formants and pitch reveal that the primo and secondo passaggi actually might be a single event that stretches over a wide range of pitches.
How does he suggest men negotiate this transition? The journey through the passaggio is facilitated by subtly closing the vowel or b slightly lowering the larynx; either approach lowers the first formant to a frequency below that of 2F0 - the tricky part is to close the vowel enough to break the F1/2F0 bond without excessively distorting diction.
What do developing singers do instead? What kind of sound do these strategies result in? Developing singers initially take an opposite approach; instead of lowering F1 to decouple it from 2F0, they allow the two to proceed up the scale in lock step. They do this by dropping the jaw, narrowing the back of the throat, spreading the lips, or lifting the larynx.
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 F1/2F0 lock. Nasality might enable singer to produce high pitches with Mode 1, but does so at the price of altering basic vocal timbre.
What is reinforced falsetto? An additional register in the male voice. There is little consensus as to the meaning of this word or the vocal function it describes.
Which glottal source mode is used in female belt? Mode 1, and resonance is tuned to avoid obvious violations of register.
How does the spectral envelope for female belting differ from male head voice? For the male head voice, the optimally desired timbre is that of balanced chiaroscuro; in belting, by contrast, the balance is almost completely shifted to the chiaro side with a bright, brassy timbre.
What does formant tuning in belting differ than in classical singing? Belters choose to open vowels in a strategy that associates 2F0 with F1, which would be regarded as a register violation for operatic tenors and baritones. Linking 2F0 with F1 in this manner helps maintain Mode 1 vibration with ascending pitch, which enhances the brilliant, edgy quality characteristic of belting.
What are the 3 physiological strategies used for belt resonance? Lifting the larynx, narrowing the pharynx, and increasing the horizontal opening of the mouth.
No comments:
Post a Comment