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Ebook PDF Vocal Technique A Physiologic Approach Second Edition PDF
Ebook PDF Vocal Technique A Physiologic Approach Second Edition PDF
Second Edition
Vocal Technique
A Physiologic Approach
Second Edition
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Index 219
v
Preface
How to Use This Book Effectively
As a university voice teacher for more than 30 years, to make great strides as they initially learn about
I worked with many students with varying interests and begin to understand the technical aspects of
regarding the technical aspects of singing. Most of the process, and then the growth process slows
my students have had graduate school and profes- somewhat while the brain and muscle connection
sional singing goals in mind when beginning studies “catches up.” Do not be frustrated by seeming pla-
at the undergraduate level; some have wanted to teaus in your learning. As the muscles learn to obey
become professional teachers of singing, and others the commands of the educated brain, the complex
only to improve their vocal technique so they could inter-workings of the anatomic system will begin to
find more personal fulfillment from their endeavors come alive and work for you. It takes time, patience,
as singers. This book is appropriate for all of them! and perseverance!
I am of the opinion that a singer must know Use this book to gain as much knowledge as
and understand the anatomic and physiologic func- you possibly can in regard to the technical aspects
tions connected with the speaking and singing pro- of singing; that is, anatomy, posture, breath manage-
cess in order to feel “in control” of that process. In ment, physiology, articulation, and resonance. Use it
addition, this knowledge will enable the singer to also to help you begin to learn to apply the impor-
maintain optimum technical skill and vocal health tant International Phonetic Alphabet (IPA) to the
throughout a long singing and/or teaching career. languages typically used by singers, and to help you
A singer who knows and understands his or her learn about good health and nutrition for all people.
own body will necessarily be a better singer and a Take all of these concepts and make them your own.
better teacher of singing. This book is based on that Apply as much information as you can to your own
premise. Knowledge is power! situation and think carefully about how the informa-
This book is intended for use in in voice les- tion can help you become the best singer you can
sons or a voice class at the college or university be. Then, be a discoverer! Go out and read more
level. Portions of it may also be suitable for teaching books and articles on the subjects contained in this
voice at the high school level, where students are book. Gather more facts and opinions, which will
interested and dedicated to learning a strong vocal help you in establishing your own personal vocal
technical foundation. As you read this book, do not technique.
hesitate to utilize the exercises given here as well Those who aspire to be professional singers or
as those assigned by your voice teacher. Practicing teachers of singing should pay particular attention
regularly what you are learning in voice lessons or a to the health and nutritional aspects of this book.
voice class is the only way to improve dramatically! You are your instrument, and being a professional
You must come to know your voice intimately in singer or a teacher of singing requires a tremendous
order to utilize it to its fullest potential. You can only amount of energy and excellent health in order to
do this with many hours of practice in the privacy be successful. Begin now to study the appropriate
of your own home or practice space. eating and exercise suggestions, and begin to make
I have found, over the years, that vocal progress them a habit for the rest of your life. A healthy body
is somewhat different than the progress made by is a necessity for a life in the professional world of
instrumentalists studying technique. Singers seem singing and/or the teaching of singing!
vii
viii VOCAL Technique: A Physiologic Approach
Following a voice class or initial voice lessons, course. Since you will want to have your students
you should expect to go on to study privately with singing vocal repertoire throughout the entire learn-
a voice teacher for many years. A class in vocal tech- ing period, it might be helpful to teach the informa-
nique is merely a beginning to a lifelong process tion in Chapter 6 — An Introduction to Articulation
that requires daily practice and study in order to and Lyric Diction for Singers, in sections; that is,
achieve success. After you successfully complete a teach the general International Phonetic Alphabet
voice class at the high school or collegiate level — or as it applies to the speaking language of your stu-
a year of voice lessons — you should, however, have dents first, and then develop one language at a time,
a strong foundation on which to base your choice beginning with English, Italian, or Spanish, and then
of voice teachers and vocal technique. There are moving on to the more difficult German and French
probably as many vocal techniques as there are languages. You may also choose to have your stu-
voice teachers, and choosing the right teacher and dents sing only in English and Italian in a beginning
technique for you is very important. Use the body voice class, and save the other languages for later in
of information you gain from this book to make their development.
decisions in this regard, but also continue to read I have found it helpful to teach posture and
books on technique and interpretation, as well as breath management first, and then return to Chap-
poetry and foreign languages. You will want to read ter 2 — Anatomy of the Singer’s Instrument: Design
other books in the area of music as well if you wish and Function. If you use the correct anatomic and
to become a professional musician. Begin now to be physiologic terms when teaching posture and breath
a lifelong learner! management, your students will find Chapter 2 much
I wish you well in your vocal studies and hope easier to understand and remember because they
you gain much knowledge and insight from using will have heard much of the terminology before they
this book! read Chapter 2. Then you can proceed to any of the
other chapters that seem appropriate for your par-
Jan Bickel ticular students. Some voice teachers like to teach
the information on keeping the voice healthy very
early in the semester, which is a very good idea.
A Note to Voice Teachers Please feel free to move around the chapters of the
book as they seem to fit your teaching style and the
learning style of your voice students. The chapters
There are a variety of ways to use this book in your do not necessarily need to be taught in the order
teaching. If you use it for a voice class, I suggest presented here. If you have questions, please do not
that you assign Chapters 1, 3, and 4 very early in hesitate to contact me via the companion website
the learning period. Teaching posture and breath for this book. I will be happy to assist in any way
management is essential to every other aspect of the that I can.
Acknowledgments
As I complete the revisions for the second edition of of Richard Miller and William Vennard. I have read
Vocal Technique: A Physiologic Approach, I continue their works in depth and, even though I know it is
to realize how many colleagues have influenced my impossible to learn to sing well from a book, it is not
singing, my voice teaching, and the concepts I pre impossible to gain insight into the complex process
sent in this book. I am, of course, indebted to my through their writings, and I am indebted to each
own voice teachers: in particular, Madame Sonia of them for their pioneering work.
Sharnova of the Chicago Conservatory of Music I am also indebted to the students in my voice
and the Chicago Opera Company; Kathleen Kaun, studio, and my voice studio and voice classes at
who worked with me at Northwestern University; Saint Xavier University, where I taught for 30+ years.
and Wilma Osheim of the American Conservatory Their patience and enthusiasm regarding this book
of Music. Their guidance and encouragement of have been most rewarding for me as a teacher and
my own vocal technical and interpretive skills can a writer. My deepest thanks goes to my colleague
surely be witnessed in these pages. I am so proud and friend, Martha M. Morris, Professor Emerita, and
and thankful to have begun my voice studies with former Director of Instrumental Studies and Music
Susan Stevens Daily at Saint Mary’s College at Notre Education, at Saint Xavier University. Thank you for
Dame, who discovered that I had a voice worthy your unending support and encouragement in my
of the singing profession, and taught me to be a work as an educator, a singer, and a writer.
holistic singer and a lifetime learner and discoverer. I am so fortunate to enjoy the talents of my out-
I continue to use all of the vocal and musical con- standing illustrator, Douglas Klauba. Thank you for
cepts she taught me as an undergraduate student, your generous assistance, your keen eye, and won-
and am so appreciative for her outstanding guid- derful artistic skills in making the technical concepts
ance and support in my early music studies. She perfectly visually clear for the teachers and students
continues to be a wonderful voice teacher and an who will use this book.
inspiration to me personally! A very special thank you to my team at Plural
I am indebted to the many colleagues whose Publishing — Valerie Johns, executive editor; Kalie
presentations, seminars, writings, and quiet conver- Koscielak, my project editor; cover designer, Marissa
sations led me to put these words on paper. I have Young; and Jessica Bristow, production assistant.
benefited frequently from individual members, as Thank you all for your unwavering support and
well as collectively, from the work of the National your outstanding artistic work to make this book
Association of Teachers of Singing and the Voice the best and most beautiful it can be, and also to
Foundation’s annual conferences in Philadelphia. Angie Singh, President of Plural Publishing, for your
Although Dr. Robert Sataloff, MD, DMA, does not continuing support of my work and the work of so
know me personally, he has had a tremendous influ- many other authors over many years!
ence on my singing and my teaching of singers. To everyone who encouraged me to write this
I thank him for his tireless efforts in reaching the book, to pursue publication, and to go forward with
pedagogic community with his medical and vocal revisions and the expansion of materials for this
expertise through seminars and print media. In addi- second edition, thank you!
tion, I have been strongly influenced by the work
ix
Singer Information Sheet
Name ___________________________________________ Age _________
Voice Category
_____ SOPRANO _____ MEZZO-SOPRANO _____ALTO
_____ TENOR _____ BARITONE _____BASS
3. If you have had private voice lessons, please list your last two teachers. List the number and
circle months or years as appropriate.
Teacher 1 _______________________________________ _____ Months Years
Teacher 2 _______________________________________ _____ Months Years
4. Do you sing
in a school choral ensemble ___ Yes ___ No
with a church choir or as a cantor ___ Yes ___ No
in a “rock” band or club ___ Yes ___ No
with another type of group: (please specify) ___ Yes ___ No
___________________________________
5. How long have you been singing? _______ Months Years (circle one)
6. Have you ever had any vocal problems such as the following?
Hoarseness (scratchy sound and feel) ___ Yes ___ No
Fatigue (voice tires or changes quality after singing) ___ Yes ___ No
Loss of range of voice (low or high notes) ___ Yes ___ No
Breathiness in sound (cannot produce a clear tone) ___ Yes ___ No
Pain in throat while singing ___ Yes ___ No
Difficulty in warming your voice up to sing ___ Yes ___ No
Trouble singing ___ softly ___ loudly ___ making any vocal sound
xi
7. What are your career goals as a singer?
___ Professional opera singer ___ Professional pop or Broadway career
___ Classical singer ___ Pop singer
___ Amateur performer (solo/choral) ___ Amateur singing for personal pleasure
___ Music Educator ___ Elementary ___ Middle School ___ High School ___ College
___ No real interest in singing as a career
8. Have you had training for your speaking voice? ___ Yes ___ No
Acting voice lessons ___ Yes ___ No If yes, how long? _________
Speech Therapy ___ Yes ___ No If yes, how long? _________
10. How often do you do vocal exercises? ___ Daily ___ Weekly ___ Infrequently ___ Never
11. If you practice singing, how long are your practice sessions? ___ minutes ___ hours
12. Do you warm up your voice before singing music? ___ Yes ___ No
13. Do you have allergies or issues that interfere with singing? ___ Yes ___ No
Explain briefly
xii
The second edition of Vocal Technique: A Physiologic Approach is dedicated
to every singer who reads this book. I hope you find the information in this book
and on the new companion website very helpful, and that you become and remain
lifelong learners, information seekers, and the very best singers you can be!
1
Some Answers to Questions Before We
Begin Developing a Vocal Technique
I’ve Heard That People are tone quality. When we speak of vocal technique, we
“Born Singers”— Can Anyone are primarily concerned with these four physiologic
Really Learn To Be A Singer? systems necessary to the production of a cultivated
vocal tone quality. Thus, a singer acquires a vocal
technique through the study, development, and
Anyone who has a normally functioning speaking coordination of the respiration, phonation, articula-
voice can learn to sing! The physiologic require- tion, and resonation systems involved in producing
ments are nearly the same for both processes. Many vocal tone.
would-be singers are unnecessarily anxious or ner- At first these terms may seem formidable, but
vous about singing because they lack experience in in actuality they are processes that are used every
singing. This feeling of anxiousness or nervousness day by human beings. By respiration we mean sim-
can be overcome easily by learning to carefully control ply the act of breathing. More specifically, respira-
vocal tone production, developing “vocal technique.” tion includes “the physical and chemical processes
Just as an Olympic runner takes the basic skills by which an organism supplies its cells and tissues
of walking and develops them to a high degree, a with the oxygen needed for metabolism and relieves
professional singer takes the skills and coordination them of the carbon dioxide formed in energy pro-
process of speaking and develops them into those ducing reactions” (Mish, 2005, p. 1061). Much time
needed for singing. If you can speak, you can sing. is devoted to this important physiologic process in
As a matter of fact, learning to sing will improve the Chapter 4. Phonation can be explained simply as
quality and projection of your speaking voice. Many the process of producing vocal sounds, especially
lawyers and other professional voice users study speech. The term takes its root from the Greek
singing in an effort to improve their ability to speak phone meaning voice or sound. Thus, to phonate
persuasively and dynamically in public. is to make vocal sounds through the application of
breath energy to the vocal folds (in humans), caus-
ing them to vibrate. Articulation, as it applies to
What Is Vocal Technique? singing and speaking, is the process whereby the
vocal sounds produced are affected or changed by
the position and motion of the articulators, the lips,
Vocal technique is the specific learned process jaw, soft palate, and tongue as well as the position
through which a singer controls the coordination of the larynx (voice box) itself. Movement of each
of four physiologic systems (respiration, phonation, of these articulators changes the shape of the vocal
articulation, and resonation) to create a beautiful tract (the hollow tube connecting the larynx to the
1
2 VOCAL Technique: A Physiologic Approach
mouth and lips), which allows us to produce the chological system) in addition to developing perfect
vowel and consonant combinations we recognize coordination of the four physiologic systems into
as language. Finally, resonation is the process that a highly skilled level of vocal technique. A student
amplifies the sound produced through phonation, of singing must first master the physical aspects of
using specific shapes within the vocal tract to cre- vocal production and will then be able to move on
ate additional sympathetic vibrations. In the case of to study the artistic elements involved in achieving
speech or singing, as the vocal tone passes through this high level of vocal artistry. If a singer wishes to
the various portions of the vocal tract, it is intensified achieve a level of competency that can be used pro-
and enriched by supplementary vibrations achieved fessionally in public performance, his or her studies
there. William Vennard, in Singing the Mechanism will continue until this high level of vocal artistry is
and the Technic, states: “To the physicist, resonance developed. This generally means going on to study
is a relationship that exists between two vibrating privately with a knowledgeable voice teacher and
bodies of the same pitch” (Vennard, 1967, p.13). continuing to develop many additional skills as well
Thus, resonating the singing voice means learning as refining the vocal technique to an artistic level.
to control the shape of these cavities above the lar- A world class singer possesses not only an excel-
ynx as well as controlling the larynx itself to some lent physical vocal technique but has also achieved
degree. More specific information on the extremely a high level of musicianship, as well as interpretive,
important process of resonating the voice is dis- theatrical, and language skills to make the sing-
cussed in Chapter 7. ing process complete and more meaningful for the
The physical production of singing tone audience as well as the singer. Mastery of the most
requires the use of all four physiologic systems in advanced stages of vocal technique is a prerequisite
precise coordination with, and consciously and con- for achieving vocal artistry.
sistently guided by, the ear and brain of the singer. Renowned vocal pedagogue Richard Miller
This is only the physical or physiologic aspect of the states in The Structure of Singing, System and Art
technique of voice production, however. In order in Vocal Technique (1996):
for a singer to make vocal sounds worthy of the
concert, musical theater, or opera stage, the singer Technique represents the stabilization of desir-
must also engage the body’s psychological system able coordination during singing. Technique can
as well as allowing his or her individual personal- be ‘computerized’ in the brain and the body of
ity to shine through, allowing the creation of vocal the singer. No singer ever should be in doubt as
sounds which achieve the highest form of artistry to what is going to happen, technically, in public
while singing — the perfect engagement of all five performance, unless illness interferes. Knowing
systems achieves vocal artistry. how the singing instrument works, and knowing
how to get it to work consistently, is the sum of
technical knowledge. That is why a systematic
How Long Will it Take to approach to vocal technique is the most success-
Become a Good Singer? ful route to artistic singing. System and art con-
join to produce the professional sounds of the
The answer here depends on how disciplined you singing voice. (p. xvi)
are and what you wish to achieve. If you wish to
be a singer in a choir or to be able to produce Lotte Lehmann, considered one of the greatest
pleasant vocal sounds for your own enrichment, you interpretive singers of her time, writes in her book
can learn to do this rather quickly. Everyone should More Than Singing — The Interpretation of Songs
be able to learn to produce pleasing vocal sounds, (Dover 1985):
using a creditable vocal technique, within the time
period allotted for a voice class or a year of studio Not only your voice sings — no, you must sing
voice lessons. If you wish to achieve a high level with your whole being — from head to toe . . .
of vocal artistry, you must also develop the inter- your eyes sing, your body, animated by the
pretive and imaginative side of the brain (the psy- rhythm of the music, sings, your hands sing. How
1. Some Answers to Questions Before We Begin Developing a Vocal Technique 3
great is the power of expression conveyed by the 3. Learning to sing properly will improve your
eyes and the hands! . . . you should learn to feel speaking voice, making it fuller and richer.
what you are singing with every nerve. (p. 13) 4. Learning to sing properly will help you to
develop self-confidence and poise as you over-
Later in the introduction to her insightful book she come the difficulties associated with singing for
states: “Do not sing just a melody, sing a poem. Music others.
lifting the poem from the coldness of the spoken 5. Learning to sing properly — although it requires
word has transfigured it with new beauty” (Lehmann, patience, energy, and enthusiasm — is fun and
1985, p. 15). These are the words of a vocal artist aids in your emotional development.
rather than a vocal technician. These are the words
of a singer who went far beyond the achievement of In addition to these important reasons, Stacy Horn
masterful vocal technique, achieving what we have tells us in her article, “Singing Changes Your Brain”
learned to appreciate as world-class artistry. (2013):
In a voice class or initial studio lessons, the
emphasis is on the introduction and development
of the foundation needed for a strong and reliable . . . singing is like an infusion of the perfect tran-
vocal technique to help you achieve a basic under- quilizer, the kind that both soothes your nerves
standing of what the requirements are for master- and elevates your spirits. The elation may come
ing the physical coordination necessary to produce from endorphins, a hormone released by sing-
beautiful vocal sounds. Following this introductory ing, which is associated with feelings of pleasure.
material, you will hopefully choose to go on with Or it might be from oxytocin, another hormone
your studies — to work with a private voice teacher released during singing, which has been found
as you continue to develop your own personal to alleviate anxiety and stress.
vocal technique. If you do not go on to study fur-
ther, you will have gained a basic understanding Anyone considering a career as a speech language
of what is necessary to achieve the most beautiful pathologist, or a music therapist will surely be
vocal quality you are capable of producing as well interested in the role that singing plays in recover-
as having learned about the anatomic function of ing stroke patients with nonfluent aphasia; these
the singing mechanism and exercises for training patients are able to sing words they cannot speak.
and coordinating the physiologic and psychological Melodic Intonation Therapy (MIT) is a very suc-
systems to produce the best possible tone quality at cessful treatment that uses melody and rhythm to
this level. improve language capabilities by utilizing the ability
to sing in order to access the generally undamaged
area of the right hemisphere of the brain follow-
Why Study Singing if ing a stroke. This is a very important and ongoing
I Don’t Intend to Become area of research, and anyone interested in pursuing
a Professional Singer? this area of study should definitely have a strong
understanding of the physiologic process of singing.
Additional reasons to study the art and science of
The National Association of Teachers of Singing singing include proven research showing that chil-
(NATS) offers the following reasons for studying dren taking music lessons show greater improve-
singing. You should consider these and others before ments in IQ scores, enhanced listening skills, better
you begin to develop your personal vocal technique. memories, and possibly better learning skills overall.
If you are an instrumentalist studying voice for the
1. Singing is a very healthy form of aerobic exer- first time, you will be pleasantly surprised to find
cise, which will help you tone muscles, purify that, as one student stated: “my breath manage-
your blood, and develop your lungs. ment, tone quality, the upper register on my instru-
2. Learning to sing properly will promote good ment, overall intonation, and sight-reading ability all
posture and give you a graceful carriage. improved quickly while I studied vocal technique,
4 VOCAL Technique: A Physiologic Approach
pitch. If the tone is not properly focused with the (a slight pulsation of pitch, approximately six or
breath, the tone may be flat. If the vowel formation seven pulsations per second) rather than no pulsa-
is incorrect, the tone may also be flat. “Holding” tions whatsoever. In singing, vibrato is caused by
the muscles of the voice box or larynx rigidly will the intermittent supply of nerve energy to the sound
make the tone straight or lacking in vibrato, and producing mechanism — the larynx. When the respi-
can also give the impression that the tone is flat. ratory and phonatory muscles of the vocal instru-
A straight or “vibrato-less” tone allows for no ring or ment are in perfect coordination (a regular pattern
overtones in the voice, and thus produces a sound of nerve energy is applied to the larynx), the sound
that is under pitch or flat. Correcting flat singing is travels in regularly patterned waves as illustrated.
a matter of learning a good reliable vocal technique When the same respiratory and phonatory muscles
and is not usually a difficult problem to correct. It are not coordinating perfectly, the sound produced
is a problem that is cured by learning proper breath will be either straight, having no patterned waves
management and good vocal technique, appropriate at all, or may produce what is called a tremolo. This
coordination of the respiratory, phonatory, and reso- wobbly or tremulous tone allows the wave pattern
natory systems. Perhaps the diagram in Figure 1–1 to go too far outside the normal wave pattern of the
will help you understand the appropriate vibratory particular pitch and thus forces the tone to be sharp
relationship between a straight tone, a tremolo (wob- (above the pitch) at times and flat (below the pitch)
ble), and an acceptable vocal tone with vibrato. at other times.
We can identify a pitch by letter name (for Lack of singing experience may cause a singer
example, the international concert pitch: A on the to be out of tune, that is flat or sharp. Because this is
treble staff). This pitch produced by any instru- the case, training the ear is as important as training
ment will vibrate 440 times per second. This sound, the vocal production itself. Courses in sight-singing
as heard by the human ear, may be graphed in a and aural skills are taught in some high schools, and
wave as shown. Acoustic scientists have proven most colleges and universities. This is a good place
that sound does not travel in a straight line, but to begin to learn pitch-matching skills if you have
rather in peaks and valleys, or what are called com- not already acquired skill in this area. Of course,
pressions and rarefaction (as shown). Thus, it is listening to other highly trained professional and
more natural for the vocal sound to have vibrato semiprofessional singers is extremely important for
all aspiring singers and will help here as well.
According to William Vennard, internationally
recognized vocal pedagogue and singer, “vibrato is
a perfectly normal phenomenon” and
to create the coordination, and you will soon notice best of your ability by learning it slowly, carefully,
a natural vibrato entering in an effortless manner. and correctly, whether it is an exercise, an art song,
Remember that vibrato is a normal function of the an aria, or a section of a choral work. Think carefully
voice and will be correct when the voice is freely about what you are doing and be organized in your
produced and coordinating well. approach. If you can sing the phrase three times in
a row making no errors, we generally say you have
learned the phrase.
What if I Sing the Wrong Notes?
2. Prepare Yourself Well
Singing wrong notes is usually an indication that the
singer’s concentration is not as strong as it needs to Your vocal instrument is made up of bone, carti-
be or that the song was not practiced and learned lage, muscles, and other living materials rather than
when the singer was concentrating carefully. Devel- wood, silver, or brass. These living cells respond
oping good pitch memory takes time, patience, and to the commands of the brain and need practice
practice, just as developing a good golf swing or and exercise every day in order to become fluid in
learning to throw a curve ball requires repeated the coordination process. In addition to your vocal
attempts to achieve success. A singer must be sure exercises, learn the words and music of your song
that he or she is concentrating carefully when learn- literature slowly and carefully. Remember, good
ing a new song to ensure a perfect delivery of the singing is a balancing act of many muscles with the
song in performance. You will need to concentrate brain guiding every action. The brain must send the
even more carefully as you learn and perfect your proper signals and the body must learn the correct
vocalizes (exercises to develop the voice) so that you patterns of response to each of those signals. This
are creating correct muscle memory as you practice. learning process takes time, patience, and much rep-
Mistakes learned during practice time — whether etition! When you learn a song or an exercise, you
rhythmic, melodic, muscular, or otherwise — are dif- are really programming the correct muscular action
ficult to correct once they are “programmed” into into your body both physically and mentally; you are
your mind, ear, and voice. Careful and concentrated creating muscle memory, which is very important in
practice time, as well as patience in learning the skills developing a personal vocal technique.
of vocal technique, will help to rid you of potential
errors in performance. The key here is repetition of
3. Take the Stage
the correct process so that muscle memory is built.
Using the process for learning a song provided here You want to learn to sing or you would not be read-
will also aid you in this quest for good musicianship. ing this book, so let your audience know that you
want to perform for them and that you have some-
thing important to say. This attitude will give you
How Can I Get Over the Fear of the necessary confidence in your own abilities as
Making Mistakes in Public? a singer. “Taking the stage” means walking quickly
to your performance position with confidence, and
an assured smile that says: “I am well prepared and
Here are four easy steps to help you get over the ready to perform for you. Thank you for coming to
fear of making mistakes in public. Begin to study hear me sing.”
and practice using them immediately.
4. Expect to Do Well
1. Concentrate
What you think and feel definitely affects your
This means in your practice as well as your perfor- voice and your performance because you are your
mance. “Program” yourself to sing the material to the instrument. Think positively. Practice visualizing
1. Some Answers to Questions Before We Begin Developing a Vocal Technique 7
your success. You will be surprised at how much them. It is important for you to find a teacher who
this helps your sense of control and your ability to inspires you and in whom you have faith. Singing
perform. Athletes have been using the visualiza- is a very personal endeavor that requires a great
tion technique for years. Watch an Olympic skier deal of trust on the part of the student. Thus, you
standing at the top of the hill: eyes closed, going must look carefully for a teacher in whom you have
through all the motions of the course ahead with confidence and in whom you can place your trust.
precision and the exact finesse he or she intends Later on in this book you will find a listing of attri-
to use when actually moving over the course physi- butes you should look for as you seek out an excel-
cally. This visualization technique is just as impor- lent voice teacher. It would be difficult to develop
tant for singer/performers. Visualizing yourself on a strong vocal technique on your own; you need a
the stage singing your vocal material to the very teacher to guide you as you learn to use your voice
best of your ability and then receiving graciously properly. As you are probably already aware if you
the applause of the audience can have great benefits have heard your speaking or singing voice on a
both psychologically and physically. recording device, you do not hear your own voice
in the same way that others hear you. Learning to
sing means learning to trust someone else’s ears
How Do I Gain More Confidence and your feelings, that is, the sensations of vocal
in My Ability to Sing? tone vibration, certain muscular feelings, such as
those associated with expanding and maintaining a
lift in your rib cage, relaxation in the shoulders and
Lack of confidence comes from lack of knowledge jaw, sensations of vibration in the nasal cavities, and
or the feeling that you lack knowledge in a particu- so on. Your voice teacher will carefully guide you
lar subject area. You naturally feel more confident toward these correct sensations, and will help you
when you feel you know a good deal about the discover and acquire an excellent vocal technique.
subject. Singing is no different. You will be least You need a mirror in your practice area to
confident when you don’t know what your voice is observe signs of muscular tension, your facial expres-
going to do, and most confident when you are in sion, posture and hand gestures, and your overall
complete control of your vocal technique because presentation among other things. This is often one
you have a good understanding of how your voice of the most difficult aspects of learning a strong
functions. When you have a good understanding of vocal technique. Very few people are comfortable
how your voice functions, and have carefully prac- watching themselves in a mirror. You will find it
ticed exercises to help you gain control over these easier if you do not make eye contact with yourself
vocal functions, you will find yourself growing more in the mirror. Instead, be your own best critic; feel
and more confident. as though you are standing outside of yourself and
objectively analyzing the technique, and not the per-
son you are watching. In subsequent chapters, you
How Do I Acquire this will learn exactly what to watch for in the mirror.
Knowledge and Control? A recording device is a valuable tool that will
enable you to hear yourself more accurately. You
can use your smart phone to record, but using a
Learn as much about your vocal instrument and how professional recording device will help you to hear
it functions as you can and attempt to acquire a the fine points of your vocal tone quality, timbre
strong vocal technique, based on all the knowledge and diction. Recording lessons and voice classes as
you have gained. In learning this technique you well as practice sessions will help you to remember
need someone in whom you have confidence as a the purpose of each vocalize, and even the correct
voice teacher, a well-tuned piano, a mirror, record- notes and rhythms of the exercises; but more impor-
ing device, metronome, and a great deal of patience tantly, it will allow you to listen multiple times to a
and perseverance. There are probably as many tech- lesson, learning something new from each listening
niques of singing as there are teachers teaching session. Listen for corrections made by the teacher
8 VOCAL Technique: A Physiologic Approach
as you attempt to sing the exercises and vocal rep- Vocal Function Exercises, first described by
ertoire. Frequently when a student is concentrat- Barnes and modified by Dr. Joseph Stemple, are
ing intensely on one concept, some very important “a series of direct, systematic voice manipulations
information or corrections may slip by unnoticed. (exercises), similar in theory to physical ther-
If your voice lessons and/or voice class sessions apy for the vocal folds, designed to strengthen
are recorded, such moments will not be lost, as you and balance the laryngeal musculature, and to
will hear the information or correction when you improve the efficiency of the relationship among
replay the recording at a later time. A good habit to airflow, vocal fold vibration, and supraglottic
form would be to record each class or lesson and treatment of phonation.” (“Vocal Warm-Ups” from
soon after, listen to the recording, writing down in http://www.gbmc.org/vocalwarm-up)
a notebook or diary important points from the ses-
sion, difficulties, exercises learned, as well as the You will find more specific directions and other very
purpose for each, and corrections made by your interesting information regarding vocal function
voice teacher. As you listen to your recording, you exercises and “care of the voice” on the Johns Hop-
may discover questions that you did not ask in the kins Medicine Voice Center website listed above.
lesson. These questions should be brought forward I present below some basic information on how to
in the next session with your voice teacher. The perform these exercises in order for a singer to keep
body of information you gather by keeping this les- her voice healthy.
son diary will prove to be a valuable resource for Vocal Function Exercises should generally be
you as you continue your studies. done twice in a row, twice a day. They should be
When you are learning a technique, part of produced as softly as possible with an easy onset
your learning time should be spent sitting quietly (initiation of sound) and forward placement of the
and studying the music and the poetry and/or lis- tone (avoid a dark, muffled vocal quality).
tening to professional vocal artists performing the
literature. This time is as important for learning to Exercise number one is performed by sustaining
sing well as the time you spend actually singing. It the vowel sound [i] (as in me) for as long as
often gives the mind time to gain a deeper under- possible on the musical pitch F above middle C
standing of the various aspects of the technique as for women, or F below middle C for men. The
well as the repertoire studied. Do not neglect this pitch should be produced as softly as possible
important aspect of your vocal studies. with a clear tone, making sure that a full
inhalation of breath precedes vocalization. The
[i] vowel should be produced with a feeling of
How Do I Know What and “forward” resonance, allowing vibrations in the
cheekbone area as you sing. Sustain this [i] for
How to Practice?
as long as you can on one breath.
Exercise number two consists of gliding, or
Remembering that your instrument is made up pri-
sliding, from your lowest to your highest pitch
marily of muscles is important. Just as an athlete
on the word “knoll,” using the consonant [l] on
would not attempt a difficult maneuver without
which to slide. Sing as softly as you can, but be
doing stretching and warm-up exercises, so the
sure to feel vocal vibration in the upper facial
singer must warm up her voice as well. The voice is
area. Try to move smoothly from your lowest
a delicate instrument, and should be used with care
to highest pitches without any breaks and on
and intelligence. Warm-ups for singers work as they
one breath.
do for athletes, stretching and warming the muscles
to prepare them for work without injury. Many oto- Exercise number three is the reverse of the
laryngologists and speech-language pathologists exercise number two. Glide, or slide, from your
recommend vocal function exercises. most comfortable upper pitch to your lowest
1. Some Answers to Questions Before We Begin Developing a Vocal Technique 9
comfortable pitch on the word “knoll,” again must practice vocal exercises to build control, flexi-
using the consonant [l] on which to slide, and bility, beauty, and power into his or her voice. Devel-
allowing the sound to be soft but clear and opmental exercises are given to you throughout this
resonant. Try to move as smoothly as possible book and may be supplemented by your teacher.
from this comfortably high pitch to your Practice each one carefully and regularly to develop
lowest pitch. your vocal instrument. Developing and nurturing
Exercise number four consists of sustaining your voice now will enable it to last for many years.
each of the pitches beginning with middle Initially, it is wise to practice for shorter, more fre-
C, then, D-E-F and G as long as possible on quent periods of time; approximately 30 minutes
one breath, again using the word “knoll,” and to an hour of practice at one time and one or more
sustaining the vocal tone on the [l]. Leave your times per day should be sufficient initially. You will
lips in the correct formation of the [o] vowel in find that this time period will lengthen as your tech-
order to feel the lips vibrating sympathetically. nique improves. Check with your teacher about any
specific practice requirements he or she may have
On the Johns Hopkins Voice Center Home page for your sessions. Of course, careful and concen-
(http://www.gbmc.org/voice), you will find much trated practice will enable you to improve more
more information and a discussion regarding vocal quickly. Practice should always be done when you
warm-ups and cool-downs. I recommend that every are well rested, healthy, and in a place where you
singer use warm-ups prior to attempting exercises can concentrate completely on what you are doing.
for vocal development (vocalizes) and cool-downs Never attempt to practice when you are exhausted,
following a practice session or rehearsal in order to ill, or in some physical or psychological way indis-
avoid injury to the vocal folds. Your voice teacher posed. Your practice room should have a well-tuned
will give you very specific vocal warm-ups, cool- piano, a full-length mirror, a recording device, a met-
downs, and vocalizes to help you gain control of ronome, and plenty of fresh air and quiet.
your vocal production; be sure to follow your voice Keeping track of your daily practice routine is
teacher’s directives in this regard as you develop a very good idea, and will help you to practice more
your vocal technique. Throughout this book you will efficiently. Use a weekly practice record sheet like
find a series of vocal exercises that can be used the one included in Appendix IV and share it with
to warm-up the voice. Eventually, you will develop your voice teacher on a weekly basis. This will allow
a specific warm-up procedure that works well for your voice teacher to gain insight into your practice
you personally and which you will want to perform habits and to recommend changes that will improve
every day of your singing life. For now, in addi- your singing more quickly (see Appendix IV).
tion to the vocal function exercises, your warm-ups
should include exercises that remove tension in the
neck, shoulders, chest, and throughout your body. Don’t Sit at The Piano to Practice,
In Chapter 3, you will learn how to correctly per- Always Stand to Practice!
form “Head Rolls,” “Shoulder Rolls,” the “Rib Cage
Stretch,” the “Rag Doll,” and other exercises to make
sure you are inhaling fully and then utilizing that air Your voice needs the full support of your body, and
to full advantage. You will find a PowerPoint presen- standing to practice will help you to develop this
tation on the companion website that accompanies consistent support more adequately. You do not
this book entitled, “Practicing 101, or What should need to play the notes of your vocalizes as you sing
I do in that 6 × 10 room?” Watch the PowerPoint for them. It is much better to memorize the pitch pat-
more specific information on practicing efficiently terns, and give yourself only the first pitch for each
and screening for vocal problems. exercise. This will also help you to acquire the aural
As the athlete trains for years to gain control skills necessary for excellent singing. Stand in front
and flexibility of his or her muscles, so the singer of the mirror and check frequently for muscular
10 VOCAL Technique: A Physiologic Approach
tension, correct posture, breath management, and times. Once you have developed a solid and reliable
mouth position as well as incorrect habits you may vocal technique, you will know that every time you
have acquired without realizing; for example, stand- open your mouth to sing, your voice will do exactly
ing with the body weight more on one foot than as you command. No one can develop a technique
the other, or opening the mouth to one side rather for you. You must do this yourself. Your teacher can
than dropping the jaw evenly from both joints. Your guide you in the correct procedure and help you to
physical appearance is important for correct vocal correct your mistakes, but in many respects you are
technique as well as for audience appeal on the your own best teacher. Practice what you learn in
performance stage. Removing undesirable physical the studio lesson or voice class carefully and every
patterns or techniques early in your vocal technical day to develop the best possible vocal technique.
development is much easier than waiting until these Repetition is of the utmost importance in devel-
patterns have become habit. If you have particular oping muscle memory for excellent and efficient
problems or difficulties in your practice sessions, vocal technique.
get into the habit of writing about these difficulties
on your practice record sheet, and ask your teacher
about them as soon as possible. Correcting faulty Language Development
vocal technique early will prevent incorrect muscle for Singers
memory from developing as a part of your technique.
These writers of the 18th century used the librettos of a poet and
dramatist, Metastasio (1698–1782), who had a strong influence in
the development of opera not only in his native Italy, but in other
countries. He supplied texts for 1200 operatic scores! He understood
music so well, that he was a great help to the composers who listened
with attention to his advice. His life covered practically all of the 18th
century.
A Celebrated Singing Teacher and Composer
But here we must pause for a moment to tell you of the life and
work of Alessandro Scarlatti’s son, Domenico, who was born in
Naples in 1685, the same year as Bach and Handel. When you recall
how many operas the father wrote, it seems queer that his son did
not follow in his footsteps. The truth is that he did write operas for
the private theatre of the Queen of Poland in Rome, and also sacred
music while he was chapel master of St. Peter’s, but he became
immortal as a composer of harpsichord music. In the influence he
had in the growing up of piano music, he can be compared to Chopin
and Liszt, and is a founder of piano music style, an honor, which he
shares with the French Couperin and Rameau, his contemporaries.
The difference is that the two Frenchmen have a delicacy and grace
that recall their period of wigs and satins and laces, while Scarlatti’s
works have strength, vigor and daring that take them out of any
special period and place them beside the great piano compositions of
all time.
Scarlatti’s sonatas are sonatas in the Italian sense of a sound-piece;
they are not, like the suites, in several movements, but each is in one
movement, which forecasts the modern sonata form with its two
main contrasting themes and development.
The “serious Scarlatti” understood his son’s talent, for he sent him
at the age of 20 to Florence to a member of the powerful de Medici
family with this letter: “This son of mine is an eagle whose wings are
grown; he ought not to stay idle in the nest, and I ought not to hinder
his flight.”
Three years later Handel and Scarlatti met in Rome in an organ
and harpsichord competition, and while Handel won as organist,
even Scarlatti declaring that he did not know that such playing
existed, no decision was made as to which was the better harpsichord
player. This contest seems to have caused no hard feelings for the
two young men of the same age became devoted friends.
Scarlatti had a trick of crossing his hands in his compositions.
Who does not remember with joy his first piece in which he had to
cross his hands? But sad to relate as he grew old, he became so fat
that he could no longer cross hands with comfort, so in the last
compositions the crossing of hands is noticeably absent!
It is hard to know where an inspiration is next coming from, but
wouldn’t you be surprised were you a composer, if your pet cat
presented you with a perfectly good theme? This happened to
Domenico Scarlatti! His cat walked across the keyboard, and the
composer used his musical foot prints as the subject of a very fine
fugue! Maybe Zez Confrey’s Kitten on the Keys is a descendant of this
pussy’s piece.
The Scarlattis were the last of the great Italian instrumental
composers. For two centuries Italy had been the generous dispenser
of culture, and like an unselfish mother had sent her children out
into the world to carry knowledge and works to all the nations of
Europe. The sun of Italy’s greatness was setting just as it began to
rise in Germany.
CHAPTER XVI
Opera in France—Lully and Rameau—Clavecin and Harpsichord
Composers
You may hear that the first famous opera writer of France had
been a pastry cook or kitchen boy, but no matter how humble his
start in life, he rose to the highest social position ever reached up to
that time by a composer in France. He became a great favorite of
Louis XIV, he was covered with titles and honors, he was on friendly
terms with all the nobility of the court, he was musical dictator of the
opera and in fact of all the musical happenings of the court. The
greatest literary geniuses of the period, such as Molière, Racine, La
Fontaine, Quinault, Corneille and Boileau, worked with him when he
wanted new librettos for his operas. He paid dearly for all his
privileges, because his fellow composers were jealous of his genius
and his opportunities, and they lost no chance to blacken his
character.
Lully was born in Florence, Italy, in 1632, but we can tell you little
or nothing of his parentage or of his childhood. A monk taught him a
little about music and how to play the guitar. When he was about
twelve years old, he was picked up by the Duke de Guise who saw
him with a group of traveling comedians, and was so attracted by his
vivacity, his singing and talent for mimicry, that he took him back to
Paris, where he placed him in the household of his cousin, Mlle. de
Montpensier. In her memoirs, Mademoiselle said that she had been
studying Italian and had asked her cousin to bring back from
Tuscany where he lived, a little Italian garçon de la Chambre, a sort
of personal errand boy. However, his guitar playing and musical gifts
soon lifted him out of a servant’s position and he became one of the
musicians of the great lady’s household playing at concerts, balls and
in the ballets. He learned to play the violin, and soon began to
compose popular dances. He remained a member of Mademoiselle’s
household until he was nineteen when he asked permission to leave
her service, as she had moved to the country, and he liked the gay life
of Paris better.
He had no difficulty in attaching himself to the King’s court, first
as actor and dancer in the ballets, and soon as “composer of
instrumental music.” Louis XIV was only fourteen years old, and was
evidently highly entertained by the capers of the young Italian who
was willing to play any rôle, dance any kind of a dance, or play the
violin “divinely” for his young monarch’s amusement. The King
remained Lully’s faithful friend always. Louis loved music, and
played the lute, the guitar, the harpsichord, and sang very well.
Feeling that he needed to know more, Lully studied counterpoint,
composition and learned to play the harpsichord, and whatever he
attempted musically, he acquired without difficulty.
In 1656, Lully composed music for a scene in a ballet, Psyche, and
from that time on, his compositions became the most popular of any
at court. Although he was born an Italian, his music was French, and
he even shared the French dislike of the Italian opera. In spite of his
love of acting in the ballets, of dancing, and of courting social favor
with the King and nobles, Lully was a thorough musician. When he
went into music he found that few of the singers could read notes,
but they learned their parts by ear. He soon changed this, and by the
time he died, all singers and players of orchestral instruments could
read well. In this reform, he did a great service to the growth of
music.
His first stage works were called comedy-ballets. One of his early
works was ballet music written for a performance of Cavalli’s opera,
Xerxes, which was performed upon Mazarin’s invitation at Versailles
(1660). He next was given the position of “Superintendent of Music,”
became a naturalized French citizen, and was married. Lully wrote 19
ballets, 12 comedy-ballets, and 18 operas, besides about 23 motets
for special occasions. His ballets included recitatives, airs, dialogues
and symphonies, which was the name given to music written for
orchestra. From 1672 until the time of his death in 1687, he wrote an
opera a year, and sometimes two!
The splendor and extravagance of the costuming and stage settings
of these ballets and operas of Lully are almost unbelievable! At times,
even the orchestra wore costumes of the period represented on the
stage. Lully conducted the orchestra for one opera in a magnificent
Egyptian dress. Louis XIV loved these elaborate performances, and
took part in some of them.
After the downfall of Perrin and Cambert, which many said was
caused by Lully, he became absolute ruler in all musical matters. He
used his power to close a rival opera house, and no opera could be