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Session IV Voice Building: Articulation. Stephen F. Austin, M.M., Ph.D. Associate Professor of Voice University of North Texas. Calisthenics for the Voice.

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session iv voice building articulation

Session IVVoice Building: Articulation

Stephen F. Austin, M.M., Ph.D.

Associate Professor of Voice

University of North Texas

The Vocal Pedagogy Workshop - 2007

calisthenics for the voice
Calisthenics for the Voice
  • The ‘historical school’ of voice training approached the vocal instrument in the same way as any other instrument: through graded, progressive study of articulation and interval patterns.

The Vocal Pedagogy Workshop - 2007

1 sustained tones
1. Sustainedtones
  • Most 19th C. methods begin here
  • Always begin with the low voice
  • Procede by whole or half steps
  • At least an octave

The Vocal Pedagogy Workshop - 2007

franz abt practical singing tutor
Franz Abt: ‘Practical Singing Tutor’

The Vocal Pedagogy Workshop - 2007

benefits
Benefits:
  • 1) Strengthens intrinsic musculature - isometric exercises for the TA and the CT.
  • 2) Especially helpful in building the low mechanism (chest voice).
  • 3) Simplicity of the gesture provides opportunity to address breath and support, pure vowel, posture, facial repose, etc.

The Vocal Pedagogy Workshop - 2007

2 portamento
2. Portamento
  • The portamento as an introduction to legato
  • Tosi: ‘without a good portamento “all other diligence falls short”
  • Mancini: ‘should be taught immediately after the full voice has been established’ (Manuel Garcia; Complete Treatise on the Art of Singing, 1847.)

The Vocal Pedagogy Workshop - 2007

manuel garcia the complete treatise on the art of singing 1841
Manuel Garcia: ‘The Complete Treatise on the Art of Singing’ (1841)

The Vocal Pedagogy Workshop - 2007

manuel garcia the complete treatise on the art of singing 18418
Manuel Garcia: ‘The Complete Treatise on the Art of Singing’ (1841)

The Vocal Pedagogy Workshop - 2007

3 benefits
3. Benefits:
  • 1) Trains a smooth coordination between the TA and the CT
  • 2) Trains a constant breath flow - support
  • 3) Provides the opportunity to focus on vowel quality, posture, facial repose, etc.

The Vocal Pedagogy Workshop - 2007

4 legato
4. Legato
  • “Portamento provides the technical foundation for connecting the tones without ‘sliding’ - legato. These exercises take many forms” (Luigi Lablache; Exercises for Soprano or Tenor, 1852.)

The Vocal Pedagogy Workshop - 2007

benefits12
Benefits:
  • 1) Promotes coordination between intrinsic muscles of the larynx and those of the respiratory system.
  • 2) Builds endurance!
  • 3) Use of a metronome is extremely helpful and develops a strict sense of time and organized movement within the larynx

The Vocal Pedagogy Workshop - 2007

other interval studies
Other Interval Studies
  • these are numerous and take many forms:

The Vocal Pedagogy Workshop - 2007

cinti damoreau method of singing 1849
Cinti-Damoreau: ‘Method of Singing’ (1849)

The Vocal Pedagogy Workshop - 2007

cinti damoreau method of singing 184915
Cinti-Damoreau: ‘Method of Singing’ (1849)

The Vocal Pedagogy Workshop - 2007

benefits16
Benefits:
  • 1) Develops register unification, equalization of power (especially after the voce chiusa has been established).
  • 2) De-sensitizes the singer to ‘high’ and ‘low’
  • 3) Further development of support, ‘appoggio’ (greatest danger is an intentional increase of support for the high notes!)
  • 4) Must include vowel work, facial repose, body tensions, etc.
  • 5. Mirror work is crucial! Only way to get a handle on extraneous tensions in head/neck, tongue, face, etc.

The Vocal Pedagogy Workshop - 2007

the great rossini scale cinti damoreau
The great “Rossini Scale”: Cinti-Damoreau

The Vocal Pedagogy Workshop - 2007

5 onset
5. Onset
  • Controversial
  • Many 19th C sources promote Garcia’s definition of the Coupe de la Glotte
  • Vocal folds are in full contact prior to phonation
  • Detractors claim practice ruins voices
  • Proponents claim that the correct balance of closing effort and breath pressure provides a clear, ringing quality that cannot be accomplished with other concepts; ‘coordinated onset’, ‘balanced onset’, etc.

The Vocal Pedagogy Workshop - 2007

carlo bassini art of singing 1856
Carlo Bassini; Art of Singing, (1856)

The Vocal Pedagogy Workshop - 2007

benefits21
Benefits:
  • 1). Trains the intrinsic muscles responsible for opening/closing the glottis. These muscles are critical for firm closure - the source for ‘ring’ in the voice
  • 2). Encourages proper balance of respiratory support forces

The Vocal Pedagogy Workshop - 2007

6 staccato
6. Staccato
  • Garcia described it as being produced with a continuous air supply and with the larynx interrupting the air flow and releasing it immediately. It is not produced with the support mechanism.

The Vocal Pedagogy Workshop - 2007

benefits25
Benefits:
  • Trains intrinsic muscles “openers & closers”
  • Promotes ‘firm closure’
  • Creates ‘ring’ in the voice
  • Trains a fundamental musical gesture

The Vocal Pedagogy Workshop - 2007

7 marcato
7. Marcato
  • Garcia described it as being produced with uninterrupted tone with modulated breath.

The Vocal Pedagogy Workshop - 2007

carlo bassini art of singing 185627
Carlo Bassini: “Art of Singing” (1856)

The Vocal Pedagogy Workshop - 2007

combined
Combined:

The Vocal Pedagogy Workshop - 2007