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Session IV Voice Building: Articulation

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1 Session IV Voice Building: Articulation
Stephen F. Austin, M.M., Ph.D. Associate Professor of Voice University of North Texas The Vocal Pedagogy Workshop

2 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

3 The Vocal Pedagogy Workshop - 2007
1. Sustained tones 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

4 Franz Abt: ‘Practical Singing Tutor’
The Vocal Pedagogy Workshop

5 The Vocal Pedagogy Workshop - 2007
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

6 The Vocal Pedagogy Workshop - 2007
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

7 Manuel Garcia: ‘The Complete Treatise on the Art of Singing’ (1841)
The Vocal Pedagogy Workshop

8 Manuel Garcia: ‘The Complete Treatise on the Art of Singing’ (1841)
The Vocal Pedagogy Workshop

9 The Vocal Pedagogy Workshop - 2007
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

10 The Vocal Pedagogy Workshop - 2007
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

11 Luigi Lablache: Exercises for Soprano or Tenor (1852)
The Vocal Pedagogy Workshop

12 The Vocal Pedagogy Workshop - 2007
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

13 Other Interval Studies
these are numerous and take many forms: The Vocal Pedagogy Workshop

14 Cinti-Damoreau: ‘Method of Singing’ (1849)
The Vocal Pedagogy Workshop

15 Cinti-Damoreau: ‘Method of Singing’ (1849)
The Vocal Pedagogy Workshop

16 The Vocal Pedagogy Workshop - 2007
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

17 The great “Rossini Scale”: Cinti-Damoreau
The Vocal Pedagogy Workshop

18 The Vocal Pedagogy Workshop - 2007
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

19 Carlo Bassini; Art of Singing, (1856)
The Vocal Pedagogy Workshop

20 The Vocal Pedagogy Workshop - 2007

21 The Vocal Pedagogy Workshop - 2007
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

22 The Vocal Pedagogy Workshop - 2007
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

23 Luigi Lablache: Exercises for Soprano or Tenor (1852)
The Vocal Pedagogy Workshop

24 Luigi Lablache: Exercises for Soprano or Tenor (1852)
The Vocal Pedagogy Workshop

25 The Vocal Pedagogy Workshop - 2007
Benefits: Trains intrinsic muscles “openers & closers” Promotes ‘firm closure’ Creates ‘ring’ in the voice Trains a fundamental musical gesture The Vocal Pedagogy Workshop

26 The Vocal Pedagogy Workshop - 2007
7. Marcato Garcia described it as being produced with uninterrupted tone with modulated breath. The Vocal Pedagogy Workshop

27 Carlo Bassini: “Art of Singing” (1856)
The Vocal Pedagogy Workshop

28 The Vocal Pedagogy Workshop - 2007

29 The Vocal Pedagogy Workshop - 2007
Combined: The Vocal Pedagogy Workshop


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