1 / 29

Session IV Voice Building: Articulation

Learn the graded and progressive study of articulation and interval patterns for vocal training. Explore techniques for sustained tones, portamento, legato, and more. Improve vocal strength, breath control, vowel quality, and posture.

tillotsonr
Télécharger la présentation

Session IV Voice Building: Articulation

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Session IVVoice Building: Articulation Stephen F. Austin, M.M., Ph.D. Associate Professor of Voice University of North Texas The Vocal Pedagogy Workshop - 2007

  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 - 2007

  3. 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

  4. Franz Abt: ‘Practical Singing Tutor’ The Vocal Pedagogy Workshop - 2007

  5. 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

  6. 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

  7. Manuel Garcia: ‘The Complete Treatise on the Art of Singing’ (1841) The Vocal Pedagogy Workshop - 2007

  8. Manuel Garcia: ‘The Complete Treatise on the Art of Singing’ (1841) The Vocal Pedagogy Workshop - 2007

  9. 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

  10. 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

  11. Luigi Lablache: Exercises for Soprano or Tenor (1852) The Vocal Pedagogy Workshop - 2007

  12. 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

  13. Other Interval Studies • these are numerous and take many forms: The Vocal Pedagogy Workshop - 2007

  14. Cinti-Damoreau: ‘Method of Singing’ (1849) The Vocal Pedagogy Workshop - 2007

  15. Cinti-Damoreau: ‘Method of Singing’ (1849) The Vocal Pedagogy Workshop - 2007

  16. 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

  17. The great “Rossini Scale”: Cinti-Damoreau The Vocal Pedagogy Workshop - 2007

  18. 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

  19. Carlo Bassini; Art of Singing, (1856) The Vocal Pedagogy Workshop - 2007

  20. The Vocal Pedagogy Workshop - 2007

  21. 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

  22. 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

  23. Luigi Lablache: Exercises for Soprano or Tenor (1852) The Vocal Pedagogy Workshop - 2007

  24. Luigi Lablache: Exercises for Soprano or Tenor (1852) The Vocal Pedagogy Workshop - 2007

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

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

  27. Carlo Bassini: “Art of Singing” (1856) The Vocal Pedagogy Workshop - 2007

  28. The Vocal Pedagogy Workshop - 2007

  29. Combined: The Vocal Pedagogy Workshop - 2007

More Related