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Vocal Registers:

Vocal Registers: . Stephen F. Austin, M.M., Ph.D. Associate Professor of Voice University of North Texas. Vocal Registers… OMG!. Literature is very confusing: little agreement Some historical pedagogical literature offers a practical guide Written before registers were understood

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Vocal Registers:

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  1. Vocal Registers: Stephen F. Austin, M.M., Ph.D. Associate Professor of Voice University of North Texas The Vocal Pedagogy Workshop 2011

  2. Vocal Registers… OMG! • Literature is very confusing: little agreement • Some historical pedagogical literature offers a practical guide • Written before registers were understood • Some voice science literature offers a simplification to this complex subject The Vocal Pedagogy Workshop 2011

  3. Vocal Register: 2 views • Source: produced at the level of the larynx and respiratory system • Filter: produced by changes in the resonance characteristics of the vocal tract: • formants interacting with the partials from the larynx • A combination of both the above! The Vocal Pedagogy Workshop 2011

  4. The larynx: The Vocal Pedagogy Workshop 2011

  5. The larynx: The Vocal Pedagogy Workshop 2011

  6. Source: Vennard - ‘Heavy Mechanism’ The Vocal Pedagogy Workshop 2011

  7. Source: Vennard - ‘Heavy Mechanism’ The Vocal Pedagogy Workshop 2011

  8. Source: Vennard - ‘Light Mechanism’ The Vocal Pedagogy Workshop 2011

  9. Register is defined by: Slope #1: medial margin of the vocal folds What determines this difference? The Vocal Pedagogy Workshop 2011

  10. Intrinsic musculature The Vocal Pedagogy Workshop 2011

  11. Electromyography The Vocal Pedagogy Workshop 2011

  12. Minoru Hirano “Regulation of Register, Pitch and Intensity of Voice”. Folia Phoniatrica, Vol. 22, Pp. 1-20, 1970. The Vocal Pedagogy Workshop 2011

  13. Minoru Hirano “Vocal Mechanisms in Singing: Laryngological and Phoniatric Aspects”. Journal of Voice, Vol. 2, No. 1, Pp. 51-69. 1988. The Vocal Pedagogy Workshop 2011

  14. Titze: Modal & Falsetto The Vocal Pedagogy Workshop 2011

  15. Register is characterized by: Slope #2: the glottal flow pulse Result of configuration of the vocal folds The Vocal Pedagogy Workshop 2011

  16. Sundberg: Flow glottograms The Vocal Pedagogy Workshop 2011

  17. Register is characterized by: Slope #3: EGG waveform Result of configuration of the vocal folds The Vocal Pedagogy Workshop 2011

  18. McCoy: Electroglottogram The Vocal Pedagogy Workshop 2011

  19. Closed Quotient • Heavy mech. = .5 or greater • Light mech. = below .5 • Square folds stay closed longer • Longer CQs have more harmonic energy The Vocal Pedagogy Workshop 2011

  20. How does this information helps us in the studio? (can it?) The Vocal Pedagogy Workshop 2011

  21. Historical approach: • Scientific observations were predicted in long-established pedagogical principles: • Decades of ‘trial and error’ application and observation • The true ‘scientific method’ The Vocal Pedagogy Workshop 2011

  22. Manuel Garcia II A Complete Treatise on the Art of Singing: Part On. The editions of 1841 and 1872 collated, edited, and translated by Donald V. Paschke. New York: Da Capo Press. Pg. xli, 1967. “By the word register we understand a series of consecutive and homogenous tones going from low to high, produced by the development of the same mechanical principle, and whose nature differs essentially from another series of tones equally consecutive and homogenous produced by another mechanical principle.” The Vocal Pedagogy Workshop 2011

  23. Manuel Garcia II A Complete Treatise on the Art of Singing: Part One. The editions of 1841 and 1872 collated, edited, and translated by Donald V. Paschke. New York: Da Capo Press. Pg. xli, 1967. (cont.) “All the tones belonging to the same register are consequently of the same nature, whatever may be the modification of timbre or of force to which one subjects them.” The Vocal Pedagogy Workshop 2011

  24. Ingo Titze Principles of Voice Production. Prentice Hall, Englewood Cliffs, New Jersey, Pg. 262, 1994. The Vocal Pedagogy Workshop 2011

  25. Giambattista Mancini Practical Reflections on Figured Singing. Editions of 1774 & 1776 compared, translated and edited by Edward V. Foreman, Pro Music Press, Minneapolis. Pg. 20, 1967. “This chest voice is not equally forceful and strong in everyone; but to the extent that one has a more robust or more feeble organ of the chest, he will have a more or less robust voice.” The Vocal Pedagogy Workshop 2011

  26. Giambattista Mancini Practical Reflections on Figured Singing. Editions of 1774 & 1776 compared, translated and edited by Edward V. Foreman, Pro Music Press, Minneapolis. Pg. 34, 1967. “A sonorous body, or rather robustness of voice is ordinarily a gift from nature, but can also be acquired by study and art.” The Vocal Pedagogy Workshop 2011

  27. We can ‘reshape’ the folds: • Vocalis is skeletal muscle • Responds to exercise • Grows in strength AND in mass! • Squares the vocal folds • Profoundly affects the timbre of tone The Vocal Pedagogy Workshop 2011

  28. Giambattista Mancini Practical Reflections on Figured Singing. Editions of 1774 & 1776 compared, translated and edited by Edward V. Foreman, Pro Music Press, Minneapolis. Pg. 35, 1967. “It remains for me now to speak of those voices which are slender and weak throughout their register . . . One observes that these voices are very weak in the chest notes, and the greater majority deprived of any low notes. . .” The Vocal Pedagogy Workshop 2011

  29. Giambattista Mancini Practical Reflections on Figured Singing. Editions of 1774 & 1776 compared, translated and edited by Edward V. Foreman, Pro Music Press, Minneapolis. Pg. 35, 1967. “There is not method more sure to obtain this end, I believe, than to have such a little voice sing only in the chest voice for a time. The exercise should be done with a tranquil solfeggio; and as the voice enriches itself with greater body, and range, one may blend it as much as possible with the low notes.” The Vocal Pedagogy Workshop 2011

  30. William Vennard Developing Voices. Carl Fischer, New York, New York, 1973. “During her studies she frequently asked for help with her high tones, which did improve during the work. More freedom and modification of the brighter vowels helped the top voice, but what she needed most was to develop the chest voice and blend it into her singing so that it would be usable.” The Vocal Pedagogy Workshop 2011

  31. Richard Miller Structure of Singing. Schirmer Books, New York, New York. Pg. 136-137, 1986. “Chest mixture will strengthen the soprano’s lower - middle range. Almost every female can make some chest timbre sounds, no matter how insecure, in the lowest part of her range. These notes should be sung in short, intervallic patterns, transposing by half steps upward, as more sound emerges.” The Vocal Pedagogy Workshop 2011

  32. Ingo TitzePrinciples of Voice Production. Prentice Hall, Englewood Cliffs, New Jersey, Pg. 261, 1994. “As the bottom of the vocal fold bulges out, the glottis becomes more rectangular than wedge-shaped (convergent). During vibration, then, glottal closure can be obtained over a greater portion of the vocal fold, and thereby over a greater portion of the cycle…The result is a voice of richer timbre, which we call chest or modal voice.” The Vocal Pedagogy Workshop 2011

  33. Voice Building! The Vocal Pedagogy Workshop 2011

  34. Filter Partials interacting with formants: Don Miller – ‘Register Violation’ 2nd partial in F1 The Vocal Pedagogy Workshop 2011

  35. Filter Don Miller – ‘Head Voice’ 3rd partial in F2 The Vocal Pedagogy Workshop 2011

  36. Miller: Head Voice The Vocal Pedagogy Workshop 2011

  37. Head Voice? • Is there a change in the laryngeal mechanism? • Results from a change in resonance effect: • Perceptual vs functional • Formants interacting with partials • Specifically 3rd partial lined up with F2 • Requires a strong source spectrum: • Characteristic of the ‘Chest Voice’ • Historically called the ‘Do Di Petto’! The Vocal Pedagogy Workshop 2011

  38. Sustained tones in the chest The Vocal Pedagogy Workshop 2011

  39. William Vennard Singing: The Mechanism and the Technique. Carl Fischer, New York. Pg 214. 1967. The Vocal Pedagogy Workshop 2011

  40. William Vennard Singing: The Mechanism and the Technique. Carl Fischer, New York. Pg 155. 1967. The Vocal Pedagogy Workshop 2011

  41. Garcia’s 1st exercise for femaleComplete Treatise Pt. 1 The Vocal Pedagogy Workshop 2011

  42. ‘Welcoming in the chest’ The Vocal Pedagogy Workshop 2011

  43. “Imposing the chest’ The Vocal Pedagogy Workshop 2011

  44. ‘Imposing the chest – II’ The Vocal Pedagogy Workshop 2011

  45. ‘Deference to the head’ The Vocal Pedagogy Workshop 2011

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