CHAPTER 11

Vowel Modification
in Singing
aggiustamento

T here are no tim bre dem arcations in the scale of a good singer,
unless introduced for coloristic purposes; the skillful singer appears
to have b u t one register. N either the dem ands of articulation n o r the
search for resonance sensations m ust be p erm itted to fragm ent the
scale. Appelm an ( I ‘>67, p. 90) cites vowel m odification as an aim of
the bel canto period:
One of llie objectives of the singers of bel can to was the
developm ent ol a voc al scale th at was pure, unbroken, and
uninterrupted. The transition of registers—either up or
down the scale dem anded a m odification in th e tonal color
d I the topm ost notes to prevent them from becom ing dis­
agreeable and harsh and to preserve the quality of the vowel
sound as well as an even tonal line.
The front vowels (singers often call them "high”) have form ants
that produce brilliance and "ring.” Back vowels (singers frequently
term them "low ”) have low er form ants and strike the e ar as being
less brilliant (see Figures 4.2 and 4.5). The com bination of rising pitch
and high fo rm a n t vowel in singing results in spectral p attern s th at
produce "open” or "white” quality.
To c o u n te rac t the tendency tow ard "open” sound, fro n t vowels
m ay be m odified in rising pitch so as to red u ce the incidence of
higher harm onic partials. Pedagogical opinions vary as to how
aesthetic dem ands can be m et by this m odification. Som e singing
teachers locate a spot in the ascending scale of each category of
voice at w hich the tone m ust be "covered.”
"Covering” encourages fundam ental changes in the m echanical
function of the larynx, and alteration of the shape of the resonators,
accom panied by a sensation of additional spaciousness in the
pharynx, by a high velum , a low tongue, and a low ered larynx,
thereby increasing "depth" in the tone. These actions alter the
harm onic spectra, and the tone is darkened by the heavier m echani­

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