FOCUS on VOCAL TECHNIQUEThe Tongue as Master of your Singing: Vowel Modification by Shirlee EmmonsToday it is science and research that provide the rationale behind the insistence upon vowel modification, but the great voice teachers of the past came to the same conclusions solely by means of acute observation and pragmatic experience. In a questionnaire distributed by the authors of the new Prescriptions for Choral Excellence, published by Oxford University Press in January 2006, choral directors cited the following five elements as the most problematic in their directing experience:1. Inability to sing in tune in the area of register breaks.2. Adverse effects of consonant production on tuning and tone quality.3. Inability to sing at a soft dynamic level without losing the fundamentalof the pitch.4. Breathiness in the middle register. 5. Inability to “cover” the tone.It is evident that these same five factors have everything to do with vocal problems in solo singing as well. Vowel modification will contribute to the solution for each of these problems.The belief that singers should sing the exact vowel written by the composer is entirely logical. However, to do is not natural to the vocal instrument. A singer whose vocal resonance is even and consistently good from note to note—high or low, soft or loud—is changing the vowels semitone by semitone (whether or not the listener can sense it), and the vocal tract is constantly changing form (whether or not the singer takes note of it.) This cannot be avoided. This is the way the voice works. As Oren Brown, the noted vocal pedagogue reminds us, “Good singers, whether consciously or not, depend on finding an easy adjustment for the pitch. This will be a modification [my emphasis].” Moreover, when voice teachers or choral directors ask their singers to, for example, sing [i] (ee) but drop their jaws while doing it, they, too, are modifying the vowel, for an [i] (ee) sung with a very large mouth will be an [e] (eh).With the aid of vowel modification singers will have fewer intonation problems, better resonance across their ranges, more carrying power, easier production of forte and piano, clearer diction, and, if choral directors could persuade themselves to use the modification suitable to each section in place of that common vowel indicated for all the voices, a much better blend.Có lẽ điều này nghe quá lạc quan là đúng. Nghi ngờ của bạn sẽ được giảm nhẹ bằng sự hiểu biết rằng các kết quả mô tả được điều chỉnh bởi mức độ mà lưỡi kiểm soát các sự kiện của chiếc ống (đường giọng hát), và ảnh hưởng của lưỡi hiệu quả thanh quản. Cho kết quả tối ưu, đầu lưỡi nên nghỉ ngơi ở đầu răng dưới cùng. Vị trí này có thể được giảng dạy bằng cách nói, "Hmm!" cơ động sẽ đặt đầu lưỡi một cách chính xác. Cố gắng để sử dụng tư thế lưỡi khác trong một nỗ lực để đạt được nhiều cộng hưởng không cho phép các hình dạng thích hợp
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