1. Vocal pedagogy Resonance

2. Vocal Resonance Magnification of sound Required in speech and singing All voices are resonant to differing degrees May be used to describe power or quality A resonant voice/a warm resonance

3. Resonance vs register Registers are produced by the vocal cords – chest register Resonances affects the way the tract above the vocal folds affect the sound so it is bigger or different.

4. Brainstorm What are the structures affecting resonance of the voice

5. Brainstorm Structures which affect Resonance Velum Sinuses Size and shape oral cavity Tonsils and glands Tongue +/- root tension Jaw Epiglottis

6. Brainstorm Factors causing change in usual resonance

7. Brainstorm Factors causing change in usual resonance Physiological factors Dryness Psychological factors Mood change, energy, fatigue Neurological factors Motor or sensory Illness Colds, infections, tonsillitis, sinusitis

8. Volume Bigger resonators make a bigger sound Male voice vs female Also depends on way the sound is produced e.g. child's loud voice.

9. Where are the resonating chambers? Howell 1994 talks about the “myth of resonating chambers in top of head, above eyes, chest.” Sell 2005 head and chest resonance are “sensations of sympathetic vibrations” Aiming for these resonators can be vocally damaging Titze 2001 sinuses do resonate but the airborne sound changes minimally by these resonations. Abitbol 2006 considers chest cage and lungs to be amplifiers

10. If we hear it and feel it is it there? We may hear what we think is chest resonance and the performer may feel it but if we placed a microphone at the chest we would not pick up that sound. Also a performer may sound no different whether clothed or naked!

11. Many resonators Shewell cites examples of teachers who believe in 40 or even infinite sites for resonance. Grotowski states that the most useful approach is to use the whole body as a resonator

12. Summary of opinion The parts of the body where the sound waves can be shaped are the pharynx, oral and nasal cavities There are parts of the body where we may feel sympathetic vibrations but they do not actually produce sound vibrations even though we may feel them internally or by touch There are other parts such as sinuses and chest, where we feel vibrations but there is disagreement about whether the sound is actually resounding in there.

13. Resonances vs Qualities Shewell 2009 To acknowledge the physics but to recognise that the voice sounds different so the description can be that of a “resonant quality” We will look at three resonant qualities

14. Head resonance quality This gives the impression of a bright ringing tone which will cut across noise Typically this is mage by a narrowing of the pharynx at the level of the epiglottic by a tightening of the aryepiglottic folds. The sound may be nasal or not. Nyaah nyaah nya nyaah nyaah

15. Oral resonance quality This gives and impression for forward resonance and a clarity to articulatory sounds. Without it sounds sound rather maffled. A practical consequence maybe that the voice becomes pushed or strained to compensate for the lack of projection. It is helped by forward tongue position and active lip movement. Excess oral resonance with less head and chest can sound weak, thin. This may occur when nerves take over.

16. Chest Resonance Quality Sounds like vibrations in the thorax. This give the voice a sense of warmth, depth and authority. In women when coupled with a breathy quality it gives the classic “sexy voice” A low larynx is important in gaining this resonance Should feel at pitches below 300Hz (Middle C 261Hz) if not voice may be pressed

17. Balanced resonance qualities “The more we can use our resonances the easier our vocal life becomes because we allow ourselves to cut back on effort and tension” Rodenburg 1992

18. Practical Shewell 2009 Preparation for resonance work involves rubbing, shaking, jiggling and jumping

19. To access strong head resonance Chewing the drone Humm. Keeping lips closed chew and move lips, tongue, jaw and facial muscles. Hear changes in resonance. Put your fingers in your ears to increase awareness of resonance changes. Nasal murmur Make ng and move lips for ooh-waah

20. Twang Nyaah nyaah nya nyaah nyaah Quack, Baa, witch laugh-hee hee, miaow Bugs Bunny “Ehh What’s up Doc?” Count 1-10 keeping the ring

21. Oral resonance “Who would know aught of art must learn and then take his ease” Resonance ladder. Whisper notice change in vowel then speak Pigs snout Make ooh tap lips with middle three fingers then stop but feel sound still flowing

22. Contrast nasal and oral resonance Ngaa Ngee Ngoo Initially all nasal to all oral Three steps with nasalised vowel

23. To develop chest resonance quality Chest Beating while intoning different vowels and resonances “Charles’ heart was far harder than Mark’s” with open throat, lowered larynx breathy voice and low pitch. Breathe out then quiet deep “huh”. Note where the movement happens and where the sound feels like it is coming from- middle of body?