In short, this lesson was very much the same as the last except Sam was sleeping!!! Wahoo!!! During this lesson I felt really good about how aware I was of myself. I was able to correctly identify the source of my tension/problem in general every time Brianna asked. She even added a new vocalize today that she wanted me to start incorporating in my daily exercises that I do on my own. It's hard to explain via writing. I would start on the 5th scale degree and then descend to one and then return to 5 all on one vowel, [i] 5-4-3-2-1-2-3-4-. Then when I would get back to the 5th degree, I would change to [e] and repeat the 5-4-3-2-1-2-3-4-. Then I would switch to [a], but on the ascent I would go all the way up the octave and then all the way back down to the 1 degree.
I finally picked my two jury pieces at this lesson. Both of my Debussy pieces are beautiful, but I felt more emotionally connected to "Nuit d'etoiles" than the other one. Then we decided that "Waterbird" was a nice contrast to the French song, and the fact that it wasn't worn out at juries ( I think I was the first to sing this song at USU according to Brianna) was a nice added bonus.
As we worked on the French song--well actually both songs--I was still struggling to maintain the buoyancy throughout each phrase. Most of it would sound pretty good, but the straight-tone was too distracting to really let the listener enjoy my sound. We deduced that when I had straight-tone, it was either my jaw tensing or the back of my ribs not staying engaged. When both of those were used correctly, I had a really easy sound that was so energetic! It baffles me that singing can be so..... easy. When I have the best sound, it feels the easiest to produce. I get so frustrated that releasing is so darn hard, because you would think that getting out of the way would be so simple.
Thursday, May 1, 2014
Taylee Beckstead 04/16/14
One of the first vocalizes was a descending "thee" on 5-4-3-2-1 humming in between each set. I was under the impression that I didn't have enough presence in my mask, thus the hum, but as it turns out she was trying to get me to release my larynx. I'm not sure that really did what it was suppose to, since I was totally working on a different aspect of my sound. I'm glad that I finally asked her about it since I was so confused. I feel like I was able to make an intelligent decision due to what I know from class.
Unfortunately this lesson was really frustrating. Sam was particularly needy, and since it was on a Wednesday, Brooklynn couldn't come again. I felt like I was very aware of myself today, but I wasn't able to get the reassurance form Brianna because she was trying to be a mom and a teacher that day. I don't blame her, it was just hard. She couldn't hear me well over his constant squawking--which admittedly was cute-- and it never went away regardless of her holding him or not. Also this meant that she had that much more of a handicap when trying to play the music. But it was a good experience to have to be responsible for myself.
Other than Sam, this lesson was really productive because I was very on top of how I was singing and what it felt like, good and bad. Still we hadn't picked my jury pieces, but all of these are eventually going onto my senior recital, so I didn't mind working on all of them.
When I sang my songs, we tried to work on getting my vibrato to be consistent. Actually my released sound in general needed to be consistent. I would sing the song and it would be less than awesome because I wouldn't allow my vibrato to be present in every note. I think, as I listen to it now, that if I would have a stronger thought of the note and a better sensation of falling into the pitch from above, most of the vibrato issues would resolve themselves.
Unfortunately this lesson was really frustrating. Sam was particularly needy, and since it was on a Wednesday, Brooklynn couldn't come again. I felt like I was very aware of myself today, but I wasn't able to get the reassurance form Brianna because she was trying to be a mom and a teacher that day. I don't blame her, it was just hard. She couldn't hear me well over his constant squawking--which admittedly was cute-- and it never went away regardless of her holding him or not. Also this meant that she had that much more of a handicap when trying to play the music. But it was a good experience to have to be responsible for myself.
Other than Sam, this lesson was really productive because I was very on top of how I was singing and what it felt like, good and bad. Still we hadn't picked my jury pieces, but all of these are eventually going onto my senior recital, so I didn't mind working on all of them.
When I sang my songs, we tried to work on getting my vibrato to be consistent. Actually my released sound in general needed to be consistent. I would sing the song and it would be less than awesome because I wouldn't allow my vibrato to be present in every note. I think, as I listen to it now, that if I would have a stronger thought of the note and a better sensation of falling into the pitch from above, most of the vibrato issues would resolve themselves.
Taylee Beckstead 04/09/14 Lesson
So my last post was a little confusing. It wasn't the week of the opera, though the things that happened were correct. What I meant to say for the that lesson was due to the fact that the opera was so close, trying to fix things in my song was way past due. The important thing at that lesson--as well as this one-- is that I enjoy singing and allow the character to take over.
All of the vocalizes were focused on singing easily and simply. My voice was a little fatigued from doing full run-throughs Monday and Tuesday (this lesson was on the Wednesday of that week). So we tried to work on getting me in the right mindset to sing, one that wasn't forced or taxing. So again we started with lip buzzes, then the many variations of "thee", striving to allow the sound not make it.
Brooklynn wasn't at this lesson, which at this point was really hard because, though I love her, Brianna's piano skills aren't the most desirable this far into the semester. We worked on vocalizes for the majority of the lesson. I thought that was helpful since I knew my songs and just wanted help feeling good when I sang them (opera songs that is). Afterward, we sang through my four non-opera songs in an attempt to narrow down which two I should bring to juries.
All of the vocalizes were focused on singing easily and simply. My voice was a little fatigued from doing full run-throughs Monday and Tuesday (this lesson was on the Wednesday of that week). So we tried to work on getting me in the right mindset to sing, one that wasn't forced or taxing. So again we started with lip buzzes, then the many variations of "thee", striving to allow the sound not make it.
Brooklynn wasn't at this lesson, which at this point was really hard because, though I love her, Brianna's piano skills aren't the most desirable this far into the semester. We worked on vocalizes for the majority of the lesson. I thought that was helpful since I knew my songs and just wanted help feeling good when I sang them (opera songs that is). Afterward, we sang through my four non-opera songs in an attempt to narrow down which two I should bring to juries.
Taylee Beckstead 04/04/14 Lesson
Vocalizes:
-descending lip trills (obviously): I was lacking energy in my lower rib cage, this seemed to be the focus for the remainder of the warm-up. (I think listening back to it that I wasn't suspending well enough)
-"thee" 5-4-3-2-1
-"A B C D-thee" 5-4-3-2-1
-"Thee" Full octave descent. Later we added "A B C D". Later she asked for more space in between the molars. (We did this exercise for a while)
-"Thee" 8-5-3-1 with speaking in between each scale.
-"Lee lay lah loh, lee lay lah loh, lah" 5-3-4-2-3-1-2-7-1
This was the week of the opera, so a lot of focus was placed on helping me be able to independantly identify problem areas and what I need to fix/change to correct them. Most of this semester, Brianna often would structure the lesson so that she wouldn't have to always tell me what was wrong, but rather have me identify it. Basically from this lesson on, she would always have me pick out the problem without telling me. We talked about how rehearsals went on Saturday. I had totally botched both of my big songs in the first act and yet I had a lot of good feed back from Dallas and Cindy. I talked about how I could tell I was tight, but I wasn't sure what it was or how to release it, thus the lesson we had this day where I was always in charge of finding the problem.
-descending lip trills (obviously): I was lacking energy in my lower rib cage, this seemed to be the focus for the remainder of the warm-up. (I think listening back to it that I wasn't suspending well enough)
-"thee" 5-4-3-2-1
-"A B C D-thee" 5-4-3-2-1
-"Thee" Full octave descent. Later we added "A B C D". Later she asked for more space in between the molars. (We did this exercise for a while)
-"Thee" 8-5-3-1 with speaking in between each scale.
-"Lee lay lah loh, lee lay lah loh, lah" 5-3-4-2-3-1-2-7-1
This was the week of the opera, so a lot of focus was placed on helping me be able to independantly identify problem areas and what I need to fix/change to correct them. Most of this semester, Brianna often would structure the lesson so that she wouldn't have to always tell me what was wrong, but rather have me identify it. Basically from this lesson on, she would always have me pick out the problem without telling me. We talked about how rehearsals went on Saturday. I had totally botched both of my big songs in the first act and yet I had a lot of good feed back from Dallas and Cindy. I talked about how I could tell I was tight, but I wasn't sure what it was or how to release it, thus the lesson we had this day where I was always in charge of finding the problem.
Taylee Beckstead 03/07/14 Lesson
Vocalizes:
-Decending lip buzzes
-"A B C D-thee": both 5-4-3-2-1 and 8-5-3-1
-not really a standard vocalize, but Brianna would have me talk (one or two sentences) and then "thee" on 8-5-3-1.
-"lee lay lah loh, lee lay lah loh, lah" 5-3-4-2-3-1-2-7-1: in between each scale, I would mime taking a drink from a glass in order to get me jaw to release.
-"thee thay, thee thay, thee" 5-4-3-2-1 but I would trill up a half step on each degree (triplet rhythm): during this I kept pointing with my neck and my upper lip was doing some weird things.
Singing/Songs worked on:
I didn't record this lesson because I forgot my ipod, so the details won't be awesome. Basically this lesson we talked about how my technique has progressed to the point were emotion is no longer something I add at the end of the semester. I already now that I sing WAY better when I'm focused on emoting and what the song means. So we talked about how when I learn a new song, I should incorporate more feeling in the learning process.
-Decending lip buzzes
-"A B C D-thee": both 5-4-3-2-1 and 8-5-3-1
-not really a standard vocalize, but Brianna would have me talk (one or two sentences) and then "thee" on 8-5-3-1.
-"lee lay lah loh, lee lay lah loh, lah" 5-3-4-2-3-1-2-7-1: in between each scale, I would mime taking a drink from a glass in order to get me jaw to release.
-"thee thay, thee thay, thee" 5-4-3-2-1 but I would trill up a half step on each degree (triplet rhythm): during this I kept pointing with my neck and my upper lip was doing some weird things.
Singing/Songs worked on:
I didn't record this lesson because I forgot my ipod, so the details won't be awesome. Basically this lesson we talked about how my technique has progressed to the point were emotion is no longer something I add at the end of the semester. I already now that I sing WAY better when I'm focused on emoting and what the song means. So we talked about how when I learn a new song, I should incorporate more feeling in the learning process.
Jared Daley Listening assignment # 4
Les Berceaux
Breath- Her breathing seemed to be mostly loud and gaspy. It seemed like the breath had nowhere to go once it entered the body, because her chest was collapsed and the rest of her body was locked down.
Posture- She was shifting the weight in the feet and her legs would move from too far apart to too close together. I think she may have been tucking her butt under because it seemed like her pelvis was far forward which caused her chest to collapse and shoulders to be more forward. I think to balance out the ribs being back she was jutting her head forward a bit.
How did the use of body effected the quality of the sound? Her sound was pressed and I didn't hear much sparkle in the voice. Because she didn't have steady and solid legs, the rest of her posture suffered, causing her air to not be as deep or full, which in turn caused her sound to be pressed and forced.
Sebben, Crudele
Breath- I couldn't quite figure out what his breath was doing. It wasn't audible and I didn't see any huge signs of collapsing or tightening but he seemed to struggle at budgeting his air throughout the phrases.
Posture- He seemed to be moving his head with his neck, not the A-O joint. His head was either far forward or far back and not balance. He seemed to be swaying backwards and forwards. I think the swaying was the result of locked legs but it is hard to tell on the video. His locked down legs also caused his pelvis to be forward making his ribs and shoulders compensate.
How did the use of the body effected the quality of the sound? His timbre has a lot of potential. I noticed that there wasn't much vibrato or freedom in the sound, particularly at the ends of phrases when his breath was running out. I think with a more solid and buoyant posture his sound would have more freedom and energy.
Roadside Fire
Breath- His breath release occasionally made his whole body move. I noticed some moments of collapse right when the singing began he didn't seem to let the breath carry him through the phrases.
Posture- It seemed like he was leaning far back. I think that like the other two singers his legs were locked and he was swaying which made his pelvis jut forward so his upper body compensated by leaning back. His head was hunched forward.
How did the use of the body effected the quality of sound? I think he had a nice timbre, but it seemed to not have much depth. His resonance was not as balanced as it could be. If his legs were more buoyant, I think his whole posture would have improved, allowing for a deeper breath and a richer depth of sound.
Breath- Her breathing seemed to be mostly loud and gaspy. It seemed like the breath had nowhere to go once it entered the body, because her chest was collapsed and the rest of her body was locked down.
Posture- She was shifting the weight in the feet and her legs would move from too far apart to too close together. I think she may have been tucking her butt under because it seemed like her pelvis was far forward which caused her chest to collapse and shoulders to be more forward. I think to balance out the ribs being back she was jutting her head forward a bit.
How did the use of body effected the quality of the sound? Her sound was pressed and I didn't hear much sparkle in the voice. Because she didn't have steady and solid legs, the rest of her posture suffered, causing her air to not be as deep or full, which in turn caused her sound to be pressed and forced.
Sebben, Crudele
Breath- I couldn't quite figure out what his breath was doing. It wasn't audible and I didn't see any huge signs of collapsing or tightening but he seemed to struggle at budgeting his air throughout the phrases.
Posture- He seemed to be moving his head with his neck, not the A-O joint. His head was either far forward or far back and not balance. He seemed to be swaying backwards and forwards. I think the swaying was the result of locked legs but it is hard to tell on the video. His locked down legs also caused his pelvis to be forward making his ribs and shoulders compensate.
How did the use of the body effected the quality of the sound? His timbre has a lot of potential. I noticed that there wasn't much vibrato or freedom in the sound, particularly at the ends of phrases when his breath was running out. I think with a more solid and buoyant posture his sound would have more freedom and energy.
Roadside Fire
Breath- His breath release occasionally made his whole body move. I noticed some moments of collapse right when the singing began he didn't seem to let the breath carry him through the phrases.
Posture- It seemed like he was leaning far back. I think that like the other two singers his legs were locked and he was swaying which made his pelvis jut forward so his upper body compensated by leaning back. His head was hunched forward.
How did the use of the body effected the quality of sound? I think he had a nice timbre, but it seemed to not have much depth. His resonance was not as balanced as it could be. If his legs were more buoyant, I think his whole posture would have improved, allowing for a deeper breath and a richer depth of sound.
Jared Daley Listening Assignment # 2
Caro Mio Ben
1. What is wrong with the sound I am hearing (and what I am seeing)? I'm hearing a lot of airiness and intonation (flat) problems in her singing. She also had minimal vibrato. I thought that she actually did a fairly decent job of being released--I didn't see a locked down jaw or rigidity in her body or face, but her being released was at the expense of being strong and energized. Her chest was kind of concave with shoulders rolled in, and she did a sort of gorilla arm swing, directing herself.
2. What is causing this problem? Lack of good breath support, body alignment, energy and strength.
3. What would I do about it if I were the teacher? First, I would have her practice alignment exercises, "toaster" shoulders being high on the priority list! I would have her do some panting to feel the level of body engagement necessary. I'd have her do a primal "uh" before each phrase so she could feel the tracheal tug needed to keep her body engaged and larynx low. I might have her hiss through the phrases to feel the connection of breath to phrase. I'd also try something like pulling on exercise bands or pushing against the wall to engage her core muscles for strength.
4. How well prepared was the performance prepared (musicianship, diction, style, etc.)? Give specifics that support your answer. I thought she did a pretty good job for being such a young singer. Her musicianship and style were appropriate. Diction was not bad, but some vowels were not totally pure, and [t]s were aspirate. She seemed pretty comfortable performing except for the extraneous body movement--hands, arm swinging.
The Roadside Fire
1. What is wrong with the sound I am hearing (and what I am seeing)? I hear a pressed sound, forced vibrato. I see upper body tension and lack of lower body engagement.
2. What is causing this problem? I think the pressed sound is from lack of release in jaw, lack of free access to register 3, and focus on singing "forward" rather than having low larynx and free resonance. The forced vibrato is a symptom of the other things.
3. What would I do about it if I were the teacher? I'd have him try singing in a squat position to really stabilize the lower body and use his strength from there. I'd also have him practice singing while lying on an exercise ball or couch to free up the upper body. I might have him alternate between singing with head back and normal to free the jaw and engage tracheal tug. I'd also have him speak through the text with meaning to get a good understanding of the appropriate stresses and vowels. I'd have him practice the song maybe all in falsetto, much lighter than what he was doing, to get a released sound. I'd have him sing the song with tootsie rolls or a pencil between his back teeth to open up that molar space rather than alligator jaw-ing it.
4. How well prepared was the performance prepared (musicianship, diction, style, etc.)? Give specifics that support your answer. I couldn't understand the text almost at all. I caught a word here and there, but I don't know what the song is about, and if I didn't know the title and composer, I might have thought that this was in a different language. It was odd, because I heard a lot of consonants, but I heard no meaning. I think the words were treated equally and overly manufactured. Seems like he did a lot of work trying to get the vowels "correct" but there was a lot of difference in the vowels. I pictured the vowel formant picture with his vowels all over rather than aligned. The body movement was a little distracting.
Jared Daley Mckinney 9
Rewrite in your own words the 5 identifying characteristics of consonants.
1. Restricted speech sounds
2. Depending on the degree of restriction they can be more or less noticeable
3. They are below vowels in how important they are
4. Define the ends and beginnings of syllables
5. They stop the sound, separating the vocal tone
How are consonants divided into two primary groups?
those which require vocal fold vibration (voiced) and those which do not (voiceless)
Describe the 3 movement categories for consonants.
Continuants: are sounds which can be sustained as long as the breath lasts
Stops: consonants which bring the flow of the air stream to a complete halt
Glides: a vowel sound which functions as a consonant; it starts in the position of one vowel but immediately slides or glides toward whatever vowel follows it
Describe the 2 other systems used to classifying consonants.
1. The way the sound is produced
2. The place or articulatory position in which it is formed
Rewrite in your own words the five identifying characteristics of vowels.
1. Unrestricted
2. Can be sustained
3. normally voiced
4. foundation of tone
5. molded by the articulators
Which articulator is of primary importance in the making of vowel sounds? Why?
the tongue because it is the primary determinant of the relationship between oral and pharyngeal resonators
Describe how vowels are grouped.
front, back, and central; tense and lax vowels; stressed and unstressed vowels; cardinal vowels and the Latin vowels
What are the four levels of stress?
primary, secondary, tertiary and weak
What are the 5 Singer's vowels?
[i] [e] [a] [u] [o]
What is a phoneme?
a family of sounds in a given language
What is an allophone?
phonetically distinct articulations which can be substituted for each other
Which articulators are under the direct control of the singer?
the lips, jaw and the tongue
Which articulators must be trained indirectly?
the soft palate, the glottis, the epiglottis and the larynx
What are the two basic principles which contribute to the effective use of the articulators?
1. all movements of the articulators should be quick, precise, and positive, ending in a position which is free of unnecessary tension
2.articulatory movements must be exaggerated
What does McKinney suggest imagining as a first step?
that all your articulatory movements are taking place just in front of your mouth, with everything moving very crisply and precisely, but without tension
What are suggestions that are made for use/position of lips?
helps your face have a pleasant, vital expression as if you are about to smile but also communicates
What suggestions are made for your lower jaw?
beginning a yawn position helps you find that position, free from tensions, drops down and then hangs back
What suggestions are made for your tongue?
"a point of reference", upper surface forming a gentle arch
Why is the tongue considered the most important articulator?
Because it forms vowels and consonants
Define/describe consonants in general.
a subordinate sound which is used with a vowel to form a syllable; it does not form the nucleus of a syllable, but can define its borders
Why does McKinney suggest firm consonants?
1. consonants are subordinate to vowels in sonority and do not carry as well
2. firm consonants help the singer to establish and maintain good, solid tone production on vowels
Define vowels.
Vowels are voices, unrestricted speech sounds which are capable of being sustained and thereby of becoming the basic building material of vocal tone
What is the function of vowels?
to carry the tone
What is the function of consonants?
to break up the tone into distinct, comprehensible units
What is the problem that inexperienced singers have with vowels?
the inability to establish and maintain steady states of vowel posture
How are the concepts of vowel purity and phonemic identity different?
phonemic identity different because it is more meaningful, there has to be some change
What are the problems that occur when singers insist on singing "pure" vowels in the upper voice?
loss of quality, tight phonation, elevation of larynx, vocal strain
What are the different approaches to vowel migration or vowel modifications?
-you should recognize that vowels do modify in the upper voice, you should modify by creating more space
-you should migrate by thinking the vowel toward which you are modifying
What is the critical factor in all systems of vowel migration/modification?
to retain enough phonemic identity for the word to be recognized
In studying professional female singers, upon what is jaw opening dependent?
upon the phonation frequency than on the vowel
1. Restricted speech sounds
2. Depending on the degree of restriction they can be more or less noticeable
3. They are below vowels in how important they are
4. Define the ends and beginnings of syllables
5. They stop the sound, separating the vocal tone
How are consonants divided into two primary groups?
those which require vocal fold vibration (voiced) and those which do not (voiceless)
Describe the 3 movement categories for consonants.
Continuants: are sounds which can be sustained as long as the breath lasts
Stops: consonants which bring the flow of the air stream to a complete halt
Glides: a vowel sound which functions as a consonant; it starts in the position of one vowel but immediately slides or glides toward whatever vowel follows it
Describe the 2 other systems used to classifying consonants.
1. The way the sound is produced
2. The place or articulatory position in which it is formed
Rewrite in your own words the five identifying characteristics of vowels.
1. Unrestricted
2. Can be sustained
3. normally voiced
4. foundation of tone
5. molded by the articulators
Which articulator is of primary importance in the making of vowel sounds? Why?
the tongue because it is the primary determinant of the relationship between oral and pharyngeal resonators
Describe how vowels are grouped.
front, back, and central; tense and lax vowels; stressed and unstressed vowels; cardinal vowels and the Latin vowels
What are the four levels of stress?
primary, secondary, tertiary and weak
What are the 5 Singer's vowels?
[i] [e] [a] [u] [o]
What is a phoneme?
a family of sounds in a given language
What is an allophone?
phonetically distinct articulations which can be substituted for each other
Which articulators are under the direct control of the singer?
the lips, jaw and the tongue
Which articulators must be trained indirectly?
the soft palate, the glottis, the epiglottis and the larynx
What are the two basic principles which contribute to the effective use of the articulators?
1. all movements of the articulators should be quick, precise, and positive, ending in a position which is free of unnecessary tension
2.articulatory movements must be exaggerated
What does McKinney suggest imagining as a first step?
that all your articulatory movements are taking place just in front of your mouth, with everything moving very crisply and precisely, but without tension
What are suggestions that are made for use/position of lips?
helps your face have a pleasant, vital expression as if you are about to smile but also communicates
What suggestions are made for your lower jaw?
beginning a yawn position helps you find that position, free from tensions, drops down and then hangs back
What suggestions are made for your tongue?
"a point of reference", upper surface forming a gentle arch
Why is the tongue considered the most important articulator?
Because it forms vowels and consonants
Define/describe consonants in general.
a subordinate sound which is used with a vowel to form a syllable; it does not form the nucleus of a syllable, but can define its borders
Why does McKinney suggest firm consonants?
1. consonants are subordinate to vowels in sonority and do not carry as well
2. firm consonants help the singer to establish and maintain good, solid tone production on vowels
Define vowels.
Vowels are voices, unrestricted speech sounds which are capable of being sustained and thereby of becoming the basic building material of vocal tone
What is the function of vowels?
to carry the tone
What is the function of consonants?
to break up the tone into distinct, comprehensible units
What is the problem that inexperienced singers have with vowels?
the inability to establish and maintain steady states of vowel posture
How are the concepts of vowel purity and phonemic identity different?
phonemic identity different because it is more meaningful, there has to be some change
What are the problems that occur when singers insist on singing "pure" vowels in the upper voice?
loss of quality, tight phonation, elevation of larynx, vocal strain
What are the different approaches to vowel migration or vowel modifications?
-you should recognize that vowels do modify in the upper voice, you should modify by creating more space
-you should migrate by thinking the vowel toward which you are modifying
What is the critical factor in all systems of vowel migration/modification?
to retain enough phonemic identity for the word to be recognized
In studying professional female singers, upon what is jaw opening dependent?
upon the phonation frequency than on the vowel
Jared Daley McCoy 11
What is the location and function of the intrinsic tongue muscles? Found within the blade (dorsum) of the tongue that lies in the oral cavity and moves to form the vowels and consonants of speech.
What is the location and function of the extrinsic tongue muscles? Lie below, behind and above the blade enabling it to extend retract, elevate, depress, and curl.
Why does movement of the tongue impact other structures of vocal tract? They form a large muscle group that fills the jaw space, extends down to the hyoid bone, up into the pharynx and palate. Because of all the attachment points the tongue can influence the jaw, larynx and vocal tract.
Name and describe the 4 tongue muscles that make up the “muscle sandwich”. Top and bottom layers are the superior and inferior longitudinal muscles running anterior to posterior of the dorsum. When contracted they shorten the dorsum. Sole contraction of superior curls the tip of dorsum upward. Sole contraction of inferior curls tip of dorsum downward. The filling of the sandwich is the horizontal and vertical muscles. Horizontal run through the medial lateral plane of the dorsum and vertical are oriented from the top to the bottom.
Name and describe the extrinsic tongue muscles. Palatoglossus-originates in soft palate and runs within the walls of the pharynx to insert into the underside of the tongue. A dual purpose muscle can rasie the posterior of the tongue and or lower the soft palate.
Styloglossus- begins at the styloid process and inserts into the posterior of tongue contraction retracts and elevates the back of the tongue and assists with curling the central portion.
Hyoglossus- thich links the hyoid bone and tongue. Depresses the tongue
Genioglossus- pulls tongue forwardfills interior arch of the mandible and inserts into underside of dorsum.
What is the biological function of the pharynx and palate? Form the airway into lungs and serve as entrance to alimentary canal to pass food into the digestive system.
Describe the alveolar ridge. Bony prominence that leads to your hard palate. Important for pronouncing consonants.
What are the faucial pillars? Arches near the back of the tongue
What is another name for your soft palate? velum
What is the purpose of your uvula? Collection point for excess mucous in the nose
Describe the muscles of the pharynx Palatoglossus- connects tongue to palate via pharynx rases the tongue narrows the pharynx and lowers the palate
Palatopharyngeous- orginates in soft palate and down through pharynx to insert in thyroid cartilage lowers soft palate tenses and narrows the pharynx and elevating the larynx.
Stylopharyngeal muscle oriaginaltes from styloid process and runds down between the superiror and middle constrictors where merges with palatopharyngeus connects to thyroid cartilage.
Salpingopharyngeous.forms narrow band running from the auditory tube downward to merge with the palatopharyngeus. elevates the lateral walls to narrow the pharnyx.
Describe the muscles of the soft palate. Levato Palati or levator veli palatine froms the bulk of the palate originates form skill and auditory tube draws palate up and back and oblique angle
How do we lower the soft palate? Actively or passively see pg. 161
Describe the jaw. What is its anatomical name? The jaw, or mandible is a u shaped bone with an upward projections called the ramus on the posterior of each side of the u. there are two processes on each side the anterior is called coronid and the posterior is called the condyle. The condyle meets with temporal bone of the skull. and the temporomandibular joint (TMJ)
How does the strength of the muscles that close the jaw compare with the muscles of those that open the jaw? The muscles that raise the jaw are much stronger than the ones opening it.
Describe the primary muscles responsible for jaw elevation (closing)? Masseter and Temporalis
Masseter -originates in the zygomatic region (cheekbones) and inserts over most of the ramus.
Temporalis- fan shaped muscle that covers most of the side of the head above the ear. inserts into anterior of ramus near the coronid process.
Internal pterygoid originates at the pterygoid plate and inserts to the inside of the haw at the base of the ramus.
What is the advantage besides size that the jaw closing muscles have over the jaw opening muscles? They attach to the skull which is much more steady than the hyoid bone to which the jaw openers attach.
How does opening the mouth for everyday life differ from opening the mouth for singing? IN every day speaking the jaw can open by relaxing the muscle raisers and with the help of gravity. In singing the jaw sometimes has to be opened further and more quickly than is done in regular speaking.
Describe the muscles that can be used to actively open the jaw. degastric, mylohyoid, geniohyoid.
Degastric has two bellies the posterior rns from mastoid process to the hyoid bone and contracts to elevate the larynx when swallowing. The anterior belly connects from hoid bone inserting into the mandible near the point of the chin and contracts to depress the jaw.
Mylohyoid is the thinnest and least significant. A fan-shaped muscle originating along the inside of mandible and inserting into the hyoid bone. Most importantly it is the muscular floor of the mouth.
Geniohyoid is thin band of muscle connecting the mandible and hyoid and lies between the hylohoid (below) and genioglossus (above)
Why is muscular antagonism such a bad problem in jaw movement for singing? If tension is present in the jaw closers the openers which are dual functioning will induce their secondary function which is laryngeal elevation.
What is the solution to this problem? minimize tension is all jaw muscles during phonation. Can check by wiggling jaw with your hand.
Describe the final two jaw-depressing muscles that do not have a connection to the hyoid.Platysma a wide thin muscle of the face that is primarily responsible for producing a grimace.
Lateral pterygoid or external pterygoid. Originates at pterygoid plate and travels laterally to insert into the top of the ramus. When contracted moves the jaw forward and rotates the condyle within it's joint inducing small jaw drop and slight mouth opening.
What is sublaxation of the jaw? Dropping the jaw as far as it can go out of it's normal socket in the TM joint.
What is the location and function of the extrinsic tongue muscles? Lie below, behind and above the blade enabling it to extend retract, elevate, depress, and curl.
Why does movement of the tongue impact other structures of vocal tract? They form a large muscle group that fills the jaw space, extends down to the hyoid bone, up into the pharynx and palate. Because of all the attachment points the tongue can influence the jaw, larynx and vocal tract.
Name and describe the 4 tongue muscles that make up the “muscle sandwich”. Top and bottom layers are the superior and inferior longitudinal muscles running anterior to posterior of the dorsum. When contracted they shorten the dorsum. Sole contraction of superior curls the tip of dorsum upward. Sole contraction of inferior curls tip of dorsum downward. The filling of the sandwich is the horizontal and vertical muscles. Horizontal run through the medial lateral plane of the dorsum and vertical are oriented from the top to the bottom.
Name and describe the extrinsic tongue muscles. Palatoglossus-originates in soft palate and runs within the walls of the pharynx to insert into the underside of the tongue. A dual purpose muscle can rasie the posterior of the tongue and or lower the soft palate.
Styloglossus- begins at the styloid process and inserts into the posterior of tongue contraction retracts and elevates the back of the tongue and assists with curling the central portion.
Hyoglossus- thich links the hyoid bone and tongue. Depresses the tongue
Genioglossus- pulls tongue forwardfills interior arch of the mandible and inserts into underside of dorsum.
What is the biological function of the pharynx and palate? Form the airway into lungs and serve as entrance to alimentary canal to pass food into the digestive system.
Describe the alveolar ridge. Bony prominence that leads to your hard palate. Important for pronouncing consonants.
What are the faucial pillars? Arches near the back of the tongue
What is another name for your soft palate? velum
What is the purpose of your uvula? Collection point for excess mucous in the nose
Describe the muscles of the pharynx Palatoglossus- connects tongue to palate via pharynx rases the tongue narrows the pharynx and lowers the palate
Palatopharyngeous- orginates in soft palate and down through pharynx to insert in thyroid cartilage lowers soft palate tenses and narrows the pharynx and elevating the larynx.
Stylopharyngeal muscle oriaginaltes from styloid process and runds down between the superiror and middle constrictors where merges with palatopharyngeus connects to thyroid cartilage.
Salpingopharyngeous.forms narrow band running from the auditory tube downward to merge with the palatopharyngeus. elevates the lateral walls to narrow the pharnyx.
Describe the muscles of the soft palate. Levato Palati or levator veli palatine froms the bulk of the palate originates form skill and auditory tube draws palate up and back and oblique angle
How do we lower the soft palate? Actively or passively see pg. 161
Describe the jaw. What is its anatomical name? The jaw, or mandible is a u shaped bone with an upward projections called the ramus on the posterior of each side of the u. there are two processes on each side the anterior is called coronid and the posterior is called the condyle. The condyle meets with temporal bone of the skull. and the temporomandibular joint (TMJ)
How does the strength of the muscles that close the jaw compare with the muscles of those that open the jaw? The muscles that raise the jaw are much stronger than the ones opening it.
Describe the primary muscles responsible for jaw elevation (closing)? Masseter and Temporalis
Masseter -originates in the zygomatic region (cheekbones) and inserts over most of the ramus.
Temporalis- fan shaped muscle that covers most of the side of the head above the ear. inserts into anterior of ramus near the coronid process.
Internal pterygoid originates at the pterygoid plate and inserts to the inside of the haw at the base of the ramus.
What is the advantage besides size that the jaw closing muscles have over the jaw opening muscles? They attach to the skull which is much more steady than the hyoid bone to which the jaw openers attach.
How does opening the mouth for everyday life differ from opening the mouth for singing? IN every day speaking the jaw can open by relaxing the muscle raisers and with the help of gravity. In singing the jaw sometimes has to be opened further and more quickly than is done in regular speaking.
Describe the muscles that can be used to actively open the jaw. degastric, mylohyoid, geniohyoid.
Degastric has two bellies the posterior rns from mastoid process to the hyoid bone and contracts to elevate the larynx when swallowing. The anterior belly connects from hoid bone inserting into the mandible near the point of the chin and contracts to depress the jaw.
Mylohyoid is the thinnest and least significant. A fan-shaped muscle originating along the inside of mandible and inserting into the hyoid bone. Most importantly it is the muscular floor of the mouth.
Geniohyoid is thin band of muscle connecting the mandible and hyoid and lies between the hylohoid (below) and genioglossus (above)
Why is muscular antagonism such a bad problem in jaw movement for singing? If tension is present in the jaw closers the openers which are dual functioning will induce their secondary function which is laryngeal elevation.
What is the solution to this problem? minimize tension is all jaw muscles during phonation. Can check by wiggling jaw with your hand.
Describe the final two jaw-depressing muscles that do not have a connection to the hyoid.Platysma a wide thin muscle of the face that is primarily responsible for producing a grimace.
Lateral pterygoid or external pterygoid. Originates at pterygoid plate and travels laterally to insert into the top of the ramus. When contracted moves the jaw forward and rotates the condyle within it's joint inducing small jaw drop and slight mouth opening.
What is sublaxation of the jaw? Dropping the jaw as far as it can go out of it's normal socket in the TM joint.
Jared Daley Malde 4
What is the difference between intrinsic and extrinsic laryngeal muscles? What are their functions? Intrinsic muscles have both connections within the larynx and cause movement within the larynx. Extrinsic muscles have one connection to the larynx and one located elsewhere - for example in the sternum or jaw. Intrinsic muscles move the parts of the larynx like the arytenoids or the cricoid cartilage. External muscles adjust the position of the larynx as a whole, by elevating it or depressing it.
Describe the cartilages of the larynx. Include information about structure, size, function. Larynx: size of walnut, suspended in neck by muscles, prevents food and water from entering air passage as well as to make sound.
What is cartilage? a though, elastic tissue with a distinct shape like bone but more flexible.
What is ligament? A short, flexible tough fibrous type of connective tissue that connects bone to bone, bone to cartilage or cartilage to cartilage.
What is muscle origin? The point of attachment of a muscle that remains relatively fixed during contraction.
What is muscle insertion? The point of attachment of a muscle that moves most during contraction.
What is dynamic equilibrium? When opposing muscles are working with each other: one is contracting or recoiling as the other releases.
What is muscle antagonism? When opposing muscles are working against each other: both are contracting. Also know as co-contraction.
What are opposing muscles? Muscles that work in opposite directions.
What are paired muscles? Muscles that occur on both sides of the body, one the mirror image of the other.
What is stabilized physiological tremor rate? The rate of vibration innate to the body that occurs when muscle antagonism is sustained.
Describe the following muscles (location and function)
1. posterior cricoarytenoid: originates from the back of the cricoid cartilage and inserts into the muscular processes of the arytenoid carilages. When they contract, they swivel the arytenoids so that the muscular processes are pulled closer to the center in back, whereas the vocal processes spread apart in front.
2. lateral cricoarytenoid: Inserts into the mscluar processes of the arytenoid carilages, but they originate from the sides of the cricoid cartilage. When they contract, they swivel the arytenoids so that the vocal processes are together in front. This action adducs the vocal folds but leaves an opening at the back of the glottis between the arytenoid cartilages.
3. transverse arytenoid: Slides the arytenoid cartilages snugly together, eliminating the opening between them to complete the closure of the glottis. Connects the arytenoid cartilages to each other.
4. oblique arytenoid: Slides the arytenoid cartilages snugly together, eliminating the opening between them to complete the closure of the glottis. Connects the arytenoid cartilages to each other.
What are the two parts of the Thyroarytenoid muscle? Vocalis Muscle and the External Thyroarytenoid Muscle.
What are the two parts of the Cricothyroid muscle? Pars Recta and Pars Oblique. What are their functions? They rock the thyroid cartilage forward at its joints with the cricoid cartilage, which stretch the vocal folds longer and thinner.
How is pitch determined? By the rate of vibration in a musical instrument. The faster the vibration, the higher the pitch. Singing=length, thickness, and tension of the vocal folds.
What happens as we descend in pitch? The external thyroarytenoid muscles go to work. As they contract they bring the arytenoid cartilages closer to the thyroid cartilage, shortening the vocal folds.
Summarize the activities of the 3 laryngeal muscles responsible for pitch. The external TA muscles make the VFs shorter, thicker and looser when they engage. This lowers the pitch. the Vocalis Muscles add tension to the vocal folds when they engage. this raises the pitch.
Define register. (What happens at the laryngeal level?) A series of tones that have the same vocal production. Pitches produced with thick vocal folds will sound very different from the same pitches produced with thin vocal folds, even when they are produced by the same singer.
Name and describe the 4 registers of the voice. (Please include the subdivisions of modal.) Glottal fry: The cricothyroids are completely released. Modal Voice: The cricothyroids and the thyroarytenoids are engaged concurrently. -Chest Voice: The action of the TA muscles predominates. The vocal folds are short and thick. The tone is robust/heavy. -Middle/Mixed Voice: Both the TA and CT muscles are active, engaging and releasing in dynamic equilibrium. The tone is balanced. -Head Voice: the actino of the CT muscles predominates. VFs are long and thin. The tone is pure/light. Falsett/Flute:The TAs are completely release. The pitch is determined solely by the contraction of the CTs. only vocal ligaments vibrate, producing an ethereal quality. Whistle: The TAs are completely released and the CTs are fully engaged. Pitch is determined by damping the back of the vocal folds, shortening their vibrating length.
How does heavy vs light differ from loud vs soft? Loudness and softness are regulated by the speed of the breath flow and the reaction of the VFs to that flow. Heavy and light are determined by how much each muscle is involved, i.e. heavy=more TA, light =more CT.
What are the 3 possible types of onset/offset. Glottal, Aspirate, and Balanced.Describe them. Glottal Onset: The folds are already closed, delaying vibration. An audible 'click' is heard when finally set into vibration. Aspirate Onset: Phonation is delayed momentarily. Air flow reaches glottis before it closes, and air escapes before the folds vibrate. Balanced Onset: Air flow meets the glottis just as it is closing an sets the VFs into vib. immediately. Glottal Offset: The vocal folds close tightly and cease vibration before the air has stopped flowing. Aspirate Offset: VFs separate while air continues to flow.Balanced Offset: VFs separate just as the air ceases to flow from the lungs.
How do the vocal folds come into vibration? The interaction of the VFs with the expiratory breath flow. Elastic recoil and Bernoulli principle keep them in motion, along with continued expiration.
What causes a breathy sound? VFs closed too loosely, or chink is not closed.
What causes a strident sound? A result of heavy vocal production. Carrying chest voice too high, causing VFs to increase tension.
What causes a tight sound? Muscles are working too hard to close the glottis. Also can be a result of tension in neck and walls of throat.
What does the larynx have to do with dynamics? The intrinsic muscles react to the resulting difference in air pressure, subtly adjusting the degree of closure of the vocal folds. In poor singing, some try to strain to sing louder and constrict to sing softer.
How can intonation be fixed? Perfect your understanding of the harmonic function of pitches. Start with a narrow-er range when first beginning. Use correct mixture of CT and TA.
What causes vibrato? It occurs whenever the opposing muscles of the layrnx are working in balance with enough force to create the stabilized physiological tremor rateinnate to the body.
How can vibrato be controlled? Too much vocal effort or an imbalance of breath flow.
What are nodules and how can they be prevented? Extended abuse will produce calluses on the epithelium membrane covering the vocal folds. They can be prevented through: staying hydrated, avoiding pushing your voice once it's tired, correct speaking and singing technique. Basically pay attention to your larynx in the context of your whole body.
Describe the cartilages of the larynx. Include information about structure, size, function. Larynx: size of walnut, suspended in neck by muscles, prevents food and water from entering air passage as well as to make sound.
What is cartilage? a though, elastic tissue with a distinct shape like bone but more flexible.
What is ligament? A short, flexible tough fibrous type of connective tissue that connects bone to bone, bone to cartilage or cartilage to cartilage.
What is muscle origin? The point of attachment of a muscle that remains relatively fixed during contraction.
What is muscle insertion? The point of attachment of a muscle that moves most during contraction.
What is dynamic equilibrium? When opposing muscles are working with each other: one is contracting or recoiling as the other releases.
What is muscle antagonism? When opposing muscles are working against each other: both are contracting. Also know as co-contraction.
What are opposing muscles? Muscles that work in opposite directions.
What are paired muscles? Muscles that occur on both sides of the body, one the mirror image of the other.
What is stabilized physiological tremor rate? The rate of vibration innate to the body that occurs when muscle antagonism is sustained.
Describe the following muscles (location and function)
1. posterior cricoarytenoid: originates from the back of the cricoid cartilage and inserts into the muscular processes of the arytenoid carilages. When they contract, they swivel the arytenoids so that the muscular processes are pulled closer to the center in back, whereas the vocal processes spread apart in front.
2. lateral cricoarytenoid: Inserts into the mscluar processes of the arytenoid carilages, but they originate from the sides of the cricoid cartilage. When they contract, they swivel the arytenoids so that the vocal processes are together in front. This action adducs the vocal folds but leaves an opening at the back of the glottis between the arytenoid cartilages.
3. transverse arytenoid: Slides the arytenoid cartilages snugly together, eliminating the opening between them to complete the closure of the glottis. Connects the arytenoid cartilages to each other.
4. oblique arytenoid: Slides the arytenoid cartilages snugly together, eliminating the opening between them to complete the closure of the glottis. Connects the arytenoid cartilages to each other.
What are the two parts of the Thyroarytenoid muscle? Vocalis Muscle and the External Thyroarytenoid Muscle.
What are their functions? When the Vocalis Muscle contracts it increases the tension of the Vocal folds. When the ET muscles contract, they make the vocal folds shorter and thicker.
What are the two parts of the Cricothyroid muscle? Pars Recta and Pars Oblique. What are their functions? They rock the thyroid cartilage forward at its joints with the cricoid cartilage, which stretch the vocal folds longer and thinner.
What are their attachments? Arise from the sides of the cricoid cartilage at the front. From there, they extend back at an oblique angle to attach to the bottom of the thyroid cartilage at the sides.
How is pitch determined? By the rate of vibration in a musical instrument. The faster the vibration, the higher the pitch. Singing=length, thickness, and tension of the vocal folds.
What happens as we descend in pitch? The external thyroarytenoid muscles go to work. As they contract they bring the arytenoid cartilages closer to the thyroid cartilage, shortening the vocal folds.
Summarize the activities of the 3 laryngeal muscles responsible for pitch. The external TA muscles make the VFs shorter, thicker and looser when they engage. This lowers the pitch. the Vocalis Muscles add tension to the vocal folds when they engage. this raises the pitch.
Define register. (What happens at the laryngeal level?) A series of tones that have the same vocal production. Pitches produced with thick vocal folds will sound very different from the same pitches produced with thin vocal folds, even when they are produced by the same singer.
Name and describe the 4 registers of the voice. (Please include the subdivisions of modal.) Glottal fry: The cricothyroids are completely released. Modal Voice: The cricothyroids and the thyroarytenoids are engaged concurrently. -Chest Voice: The action of the TA muscles predominates. The vocal folds are short and thick. The tone is robust/heavy. -Middle/Mixed Voice: Both the TA and CT muscles are active, engaging and releasing in dynamic equilibrium. The tone is balanced. -Head Voice: the actino of the CT muscles predominates. VFs are long and thin. The tone is pure/light. Falsett/Flute:The TAs are completely release. The pitch is determined solely by the contraction of the CTs. only vocal ligaments vibrate, producing an ethereal quality. Whistle: The TAs are completely released and the CTs are fully engaged. Pitch is determined by damping the back of the vocal folds, shortening their vibrating length.
How does heavy vs light differ from loud vs soft? Loudness and softness are regulated by the speed of the breath flow and the reaction of the VFs to that flow. Heavy and light are determined by how much each muscle is involved, i.e. heavy=more TA, light =more CT.
In classical singing, we blend the actions of the TA and CT using dynamic equilibrium.
What are the 3 possible types of onset/offset. Glottal, Aspirate, and Balanced.Describe them. Glottal Onset: The folds are already closed, delaying vibration. An audible 'click' is heard when finally set into vibration. Aspirate Onset: Phonation is delayed momentarily. Air flow reaches glottis before it closes, and air escapes before the folds vibrate. Balanced Onset: Air flow meets the glottis just as it is closing an sets the VFs into vib. immediately. Glottal Offset: The vocal folds close tightly and cease vibration before the air has stopped flowing. Aspirate Offset: VFs separate while air continues to flow.Balanced Offset: VFs separate just as the air ceases to flow from the lungs.
How do the vocal folds come into vibration? The interaction of the VFs with the expiratory breath flow. Elastic recoil and Bernoulli principle keep them in motion, along with continued expiration.
What causes a breathy sound? VFs closed too loosely, or chink is not closed.
What causes a strident sound? A result of heavy vocal production. Carrying chest voice too high, causing VFs to increase tension.
What causes a tight sound? Muscles are working too hard to close the glottis. Also can be a result of tension in neck and walls of throat.
What does the larynx have to do with dynamics? The intrinsic muscles react to the resulting difference in air pressure, subtly adjusting the degree of closure of the vocal folds. In poor singing, some try to strain to sing louder and constrict to sing softer.
How can intonation be fixed? Perfect your understanding of the harmonic function of pitches. Start with a narrow-er range when first beginning. Use correct mixture of CT and TA.
What causes vibrato? It occurs whenever the opposing muscles of the layrnx are working in balance with enough force to create the stabilized physiological tremor rateinnate to the body.
How can vibrato be controlled? Too much vocal effort or an imbalance of breath flow.
What are nodules and how can they be prevented? Extended abuse will produce calluses on the epithelium membrane covering the vocal folds. They can be prevented through: staying hydrated, avoiding pushing your voice once it's tired, correct speaking and singing technique. Basically pay attention to your larynx in the context of your whole body.
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