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The document discusses vocal registers from both a historical and scientific perspective. It describes how early pedagogical literature provided a practical framework for understanding registers before modern science. Current research shows registers are produced by changes at the laryngeal level involving vocal fold configuration and respiratory adjustments, as well as changes in vocal tract resonances. Both sources of activation work together to define different registers characterized by variations in vocal fold vibration, glottal airflow, and other acoustic measures. Understanding the physiology informs pedagogical approaches to register development and voice building.
Originalbeschreibung:
Types of vocal register used in classical singing.
The document discusses vocal registers from both a historical and scientific perspective. It describes how early pedagogical literature provided a practical framework for understanding registers before modern science. Current research shows registers are produced by changes at the laryngeal level involving vocal fold configuration and respiratory adjustments, as well as changes in vocal tract resonances. Both sources of activation work together to define different registers characterized by variations in vocal fold vibration, glottal airflow, and other acoustic measures. Understanding the physiology informs pedagogical approaches to register development and voice building.
The document discusses vocal registers from both a historical and scientific perspective. It describes how early pedagogical literature provided a practical framework for understanding registers before modern science. Current research shows registers are produced by changes at the laryngeal level involving vocal fold configuration and respiratory adjustments, as well as changes in vocal tract resonances. Both sources of activation work together to define different registers characterized by variations in vocal fold vibration, glottal airflow, and other acoustic measures. Understanding the physiology informs pedagogical approaches to register development and voice building.
Associate Professor of Voice University of North Texas
The Vocal Pedagogy Workshop
9/30/2010 2011 1 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
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9/30/2010 2011 2 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!
9/30/2010 2011 11 Minoru Hirano “Regulation of Register, Pitch and Intensity of Voice”. Folia Phoniatrica, Vol. 22, Pp. 1-20, 1970.
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9/30/2010 2011 12 Minoru Hirano “Vocal Mechanisms in Singing: Laryngological and Phoniatric Aspects”. Journal of Voice, Vol. 2, No. 1, Pp. 51-69. 1988.
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9/30/2010 2011 13 Titze: Modal & Falsetto
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9/30/2010 2011 14 Register is characterized by:
Slope #2: the glottal flow pulse
Result of configuration of the vocal folds
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9/30/2010 2011 15 Sundberg: Flow glottograms
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9/30/2010 2011 16 Register is characterized by:
Slope #3: EGG waveform
Result of configuration of the vocal folds
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9/30/2010 2011 17 McCoy: Electroglottogram
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9/30/2010 2011 18 Closed Quotient Heavy mech. = .5 or greater Light mech. = below .5 Square folds stay closed longer Longer CQs have more harmonic energy
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9/30/2010 2011 19 How does this information helps us in the studio? (can it?)
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9/30/2010 2011 20 Historical approach: Scientific observations were predicted in long-established pedagogical principles: Decades of ‘trial and error’ application and observation The true ‘scientific method’
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9/30/2010 2011 21 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.”
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9/30/2010 2011 22 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.”
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9/30/2010 2011 23 Ingo Titze Principles of Voice Production. Prentice Hall, Englewood Cliffs, New Jersey, Pg. 262, 1994.
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9/30/2010 2011 24 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.”
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9/30/2010 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. 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.”
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9/30/2010 2011 26 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 9/30/2010 2011 27 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. . .”
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9/30/2010 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.
“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.”
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9/30/2010 2011 29 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.”
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9/30/2010 2011 30 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.”
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9/30/2010 2011 31 Ingo Titze Principles 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 9/30/2010 2011 32 Voice Building!
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9/30/2010 2011 33 Filter Partials interacting with formants: Don Miller – ‘Register Violation’ 2nd partial in F1
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9/30/2010 2011 34 Filter Don Miller – ‘Head Voice’ 3rd partial in F2
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9/30/2010 2011 35 Miller: Head Voice
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9/30/2010 2011 36 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 9/30/2010 2011 37 Sustained tones in the chest
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9/30/2010 2011 38 William Vennard Singing: The Mechanism and the Technique. Carl Fischer, New York. Pg 214. 1967.
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9/30/2010 2011 39 William Vennard Singing: The Mechanism and the Technique. Carl Fischer, New York. Pg 155. 1967.
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9/30/2010 2011 40 Garcia’s 1 st exercise for female Complete Treatise Pt. 1