What are the 2 functions of the larynx?
1. To serve as a valve to keep food, drink, and foreign matter out of the lungs, also holding breath breath in to assist in the task of lifting and other forms of bodily exertion.
2. the act of phonation: singing and speaking.
The thyroarytenoid muscle has two folds. What does each fold form? The lower set form the true VF's which are also known as the vocalis muscle or internal thyroarytenoids. The upper set are the false cords or ventricular bands.
When larynx functions as valve, which folds close? Both sets of folds close.
What 8 characteristics of good vocal sound does McKinney
list?
1. freely produced
2. pleasant to listen to
3. loud enough to be heard easily
4. rich, ringing, and resonant
5. energy flows smoothly from note to note
6. consistently produced
7. vibrant, dynamic, and alive
8. flexibly expressive
What 8 negative characteristics does he list?
1. constricted, forced, or strained
2. strident or rasping
3. too loud, resembling shouting or yelling
4. hoarse
5. breathy
6. weak, colorless, or devitalized
7. inconsistently produced
8. shaky or wobbly
What does McKinney have to say about thinking and sound
production? "Beautiful sounds begin in the mind of the singer. If you cannot think a beautiful sound, it is an accident if you make one."
How does he suggest you develop a mental image of a
beautiful sound? To listen to a number of artist level singers, both live and in a studio. The sounds you will hear will likely coincide with many of the good characteristics of vocal sound. It's mostly important to arrive at a vocal model that will serve as a guide/model/goal in your own vocal journey.
What is the danger in modeling your sound after a single artist? Physical attributes may differ (body type, length/thickness of VF's, size/shape of resonators) so it may be completely different than something you would be able to achieve without strain. A mature singer can demand more of his voice without hurting it than a beginner can. And lastly, if you pattern yourself after one singer to closely you become a pale imitation, rather than possessing individuality.
Describe the 3 phases of a musical tone.
1. The attack phase - the attack phase is very important because it affects the entire phonatory process. A good onset originates from the mind of a singer before the physical act takes place. This preparation includes preparing for the correct pitch, correct tone quality, and the correct dynamic level. The onset must be performed cleanly. To do this the singer must develop the habit of hearing the pitch mentally before the onset of sound, not during it. We can also prepare for a good onset physically. This occurs when the breath support mechanism and the VF's are brought into action simultaneously and efficiently without unwanted tension or wasted breath. The goal is to have effortless coordination. Some steps to do this are to: 1. breath in as if beginning a yawn 2. feel your body expand around the middle 3. suspend your breath just as you are comfortably full of air 4. star the sound by merely thinking to do so, without conscious physical effort. Do not resort to more muscle effort as a corrective measure--think first! In a balanced onset, that is coordinated, the jaw should drop freely open just as the dound begins or very shortly before. The motion of the jaw should be down and then back, but never forced in a certain posture. Vocal digestion should occur when producing sound (the feeling of nothingness until the sound comes out in front of you).
2. The sustention phase - this phase lasts from the instant of onset to the instant of release. Its duration depends on the note being sung. "To sustain something is to support or hold something up, to keep it going; the breathing mechanism must support the sound from below; the sound must be kept vital and headed somewhere." A sustained sound should be steady, consistent, and should not change quality or dynamic level unless it is responding to expressive demands in the music. The breath energy should not come in spurts or surges. To maintain constant breath energy you can 1. maintain the expansion around the middle of your body for as long as the sound lasts 2. maintain good posture by standing tall and stretching your spine.
3. The release phase - is instantaneous and should be executed w/firmness and precision. It shouldn't be ignored, slighted, or exaggerated, but should take place at an exact time and in a definite manner. There should be no doubt that the sound has ended; it should not just fade away or die from lack of energy. The breath support which is necessary to sustain a sound should be continued until the release is finished. A good release is made at the last possible instant, cleanly, and precisely. Maintain energy through your ending consonants. Think of the consonant as the actual release of sound. Don't anticipate the release while you are still on the preceding vowel; wait and let go of the sound by means of the consonant. Never end a sound by stopping or pinching it in your throat or by cutting off your breath. It is best for the singer to feel that the articulators bear the primary responsibility for the release and that they have done the letting go.
1. The attack phase - the attack phase is very important because it affects the entire phonatory process. A good onset originates from the mind of a singer before the physical act takes place. This preparation includes preparing for the correct pitch, correct tone quality, and the correct dynamic level. The onset must be performed cleanly. To do this the singer must develop the habit of hearing the pitch mentally before the onset of sound, not during it. We can also prepare for a good onset physically. This occurs when the breath support mechanism and the VF's are brought into action simultaneously and efficiently without unwanted tension or wasted breath. The goal is to have effortless coordination. Some steps to do this are to: 1. breath in as if beginning a yawn 2. feel your body expand around the middle 3. suspend your breath just as you are comfortably full of air 4. star the sound by merely thinking to do so, without conscious physical effort. Do not resort to more muscle effort as a corrective measure--think first! In a balanced onset, that is coordinated, the jaw should drop freely open just as the dound begins or very shortly before. The motion of the jaw should be down and then back, but never forced in a certain posture. Vocal digestion should occur when producing sound (the feeling of nothingness until the sound comes out in front of you).
2. The sustention phase - this phase lasts from the instant of onset to the instant of release. Its duration depends on the note being sung. "To sustain something is to support or hold something up, to keep it going; the breathing mechanism must support the sound from below; the sound must be kept vital and headed somewhere." A sustained sound should be steady, consistent, and should not change quality or dynamic level unless it is responding to expressive demands in the music. The breath energy should not come in spurts or surges. To maintain constant breath energy you can 1. maintain the expansion around the middle of your body for as long as the sound lasts 2. maintain good posture by standing tall and stretching your spine.
3. The release phase - is instantaneous and should be executed w/firmness and precision. It shouldn't be ignored, slighted, or exaggerated, but should take place at an exact time and in a definite manner. There should be no doubt that the sound has ended; it should not just fade away or die from lack of energy. The breath support which is necessary to sustain a sound should be continued until the release is finished. A good release is made at the last possible instant, cleanly, and precisely. Maintain energy through your ending consonants. Think of the consonant as the actual release of sound. Don't anticipate the release while you are still on the preceding vowel; wait and let go of the sound by means of the consonant. Never end a sound by stopping or pinching it in your throat or by cutting off your breath. It is best for the singer to feel that the articulators bear the primary responsibility for the release and that they have done the letting go.
What are the four instructions quoted by McKinney from Van
Christy?
1. never let the chest collapse, or let the shoulders move up/down when singing even the longest phrase
2. don't attempt to sing too long phrases on one breath, but always maintain good quality of tone and sufficient breath reserve first, with the long ideal phrase second in importance
3. that efficient tone is basic for efficient breath control
4. that under no circumstance should the singer try to "pull in" the diaphragm or control its action consciously.
1. never let the chest collapse, or let the shoulders move up/down when singing even the longest phrase
2. don't attempt to sing too long phrases on one breath, but always maintain good quality of tone and sufficient breath reserve first, with the long ideal phrase second in importance
3. that efficient tone is basic for efficient breath control
4. that under no circumstance should the singer try to "pull in" the diaphragm or control its action consciously.
Summarize the corrective procedures for hypofunctional
singing. It must be corrected through indirect means such as a thought process and conditioned reflex actions.
1. humming (vibration in roof of mouth)
2. using more energy by singing louder
3. using more energy with gentle lifting exercises
4. imitating an opera singer
5. establishing good posture and breathing habits
6. activating breath support mechanism by exercises
7. singing to the last row of an auditorium
8. becoming involved in the music--emoting
9. adopting correct tonal goals by listening to good singers
10. vocalizing on forward vowels
11. vocalizing with nasal consonants
12. imitating a tight sound as a means to an end.
1. humming (vibration in roof of mouth)
2. using more energy by singing louder
3. using more energy with gentle lifting exercises
4. imitating an opera singer
5. establishing good posture and breathing habits
6. activating breath support mechanism by exercises
7. singing to the last row of an auditorium
8. becoming involved in the music--emoting
9. adopting correct tonal goals by listening to good singers
10. vocalizing on forward vowels
11. vocalizing with nasal consonants
12. imitating a tight sound as a means to an end.
Summarize corrective procedures for hyperfunctional singing. It must include releasing techniques.
1. exercises for relaxation of general body tension
2. studio atmosphere conducive to relaxation and self-confidence
3. establishing good posture and breathing habits, if needed
4. reducing excess tension in the support mechanism
5. maintaining the beginning of a yawn position
6. exercises for balanced or soft onset
7. making student aware of desire tonal goals
8. vocalizing on vowels that require lip rounding-the back vowels
9. vocalizing w/consonants that help to free the jaw
10. deliberately using a breathy sound as a means to an end.
1. exercises for relaxation of general body tension
2. studio atmosphere conducive to relaxation and self-confidence
3. establishing good posture and breathing habits, if needed
4. reducing excess tension in the support mechanism
5. maintaining the beginning of a yawn position
6. exercises for balanced or soft onset
7. making student aware of desire tonal goals
8. vocalizing on vowels that require lip rounding-the back vowels
9. vocalizing w/consonants that help to free the jaw
10. deliberately using a breathy sound as a means to an end.
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