The Act and Art of Phonation
1. What are the three areas of energizing the breath?
1. What are the three areas of energizing the breath?
- Breathing Motion- Diaphragmatic breathing, the “natural” breath, is the process of inhalation and exhalation. Inhalation occurs when the dome-shaped diaphragm moves down upon the abdominal viscera and the intercostal muscles expand which creates negative intrathoracic pressure causing air to enter the lungs. Exhalation is the upward relaxation of the diaphragm into the lungs, which forces the air out, and the return of the abdominal and thoracic areas to their normal position.
- Breath Control- With a raised sternum, inhale and begin a slow emission of the breath. Maintain a steady relaxation motion of the lower ribs for this is where the diaphragm is attached. The intercostal muscles want to collapse inward and downward, though, the singer must resist the urge for the ribcage to collapse quickly.
- Breath Support- The abdominal region, commonly referred to as the core, is vital for singers to control. They must be aware that only when their core acts in unison will they receive proper breath pressure. The rectus abdominis is used to support your posture, not breath. The transverse abdominis lifts inward and upward against the diaphragm to give direct breath support. Lastly, the internal and external obliques aid in supporting the rectus and transverse sets to evenly distribute the pressure of abdominal region.
2. How does the diaphragm act during controlled exhalation for singing?
Controlled exhalation is determined by the abdominal viscera and intercostal elasticity creating intrathoracic pressure within the thoracic cavity while the diaphragm relaxes. When air is exhaled slowly, such as during singing, the diaphragm counteracts the intercostal elasticity and forces the singer to become aware of their epigastric expansion which, when practiced, creates appoggio.
3. What is meant by the term “audiation,” and why is this skill important to singing?
Audiation is the process of mentally comprehending and internalizing pitches when there is no actual vibration. There must be a level of understanding that takes place. This skill set is crucial for singers in developing their inner ear and in understanding pitch discrimination, willfully anticipate patterns in the music, and improves sight-reading.
4. What is martellato articulation, and when is it used?
Modern melismatic singing will use the martellato articulation technique in which the singer will pulsate their abdomen to detach each vowel. It lightly and brightly creates a run with improved accuracy of tempo.
5. What are the characteristics of uniform vowels?
Uniformed vowels are needed during singing in order to achieve greater vocal resonance and tonality. Vowels are placed in a vertical position with height of the soft palate and a semi-oval shape of the lips to create a smooth transition from one vowel to the other. It is also imperative that the singer’s jaw remains relaxed to avoid any impedance of the tone. These characteristics are necessary to master within singers and choirs for blending purposes and the overall tonality of the music.
6. Why should the choral director discuss the meaning and mood of a composition with the choir members?
Musicians in general are guilty of not truly knowing what they are performing. Two choirs can sing the exact same song perfectly but one choir will just sing it while the other is living it. The audience can hear and feel the intensity of the chords, notes, and phrases with the energy behind the text. The human impact must live within the music and text giving rise to tears, goosebumps, and laughter or else the music is nothing more than vibrations in the air.
7. What are the four “energized” parts of the vocal skills development outline?
The first is energizing the body which includes physical conditioning and posture development. The second part is energizing the breath which consists of breathing motion, breath control, ad breath support. The third part is the energizing the ear by means of inner hearing and intonation. Lastly is energizing the voice where humming and staccato articulation is utilized.
8. What are four causes of poor intonation, and how can these be remedied?
The four causes of poor intonation are 1)psychological origins 2) physiological origins 3) key of composition and 4) scooping and slurring. Psychological origins denotes the poor sense of the singers alertness and audiation of pitch. The singer can help this issue by exercising inner-hearing drills that aid in aural skills. Physiological origins stem from a possible under or overdeveloped breathing musculature that causes tension within the vocal tract resulting in the pitch going sharp or flat. Room temperature, vowel uniformity, and singer fatigue are also possible origins. Best practices for singers is to rest before a performance and remain physically and mentally cognisant. The Key of composition refers to modifying the original key in which a composition was composed in order for it to work with a choir. The remedy is, at times, to actually raise the key instead of lowering it. Raising the key will force the singer to remain on top of the pitch instead of going flat. An overwhelming offender of poor intonation is scooping and slurring. Out of habit, singers will often use their speaking voice to phonate musical lines because their hear pop singers perform this way or they are unaware of any other way to sing except using their own speaking voice. Directors can utilize remediation exercises where the singers perform the song staccato which takes away the drive to scoop or slur. Once the melody is under control, the director can then incorporate legato phrasing to smooth out and focus the singers voice on the center of the pitch.
Controlled exhalation is determined by the abdominal viscera and intercostal elasticity creating intrathoracic pressure within the thoracic cavity while the diaphragm relaxes. When air is exhaled slowly, such as during singing, the diaphragm counteracts the intercostal elasticity and forces the singer to become aware of their epigastric expansion which, when practiced, creates appoggio.
3. What is meant by the term “audiation,” and why is this skill important to singing?
Audiation is the process of mentally comprehending and internalizing pitches when there is no actual vibration. There must be a level of understanding that takes place. This skill set is crucial for singers in developing their inner ear and in understanding pitch discrimination, willfully anticipate patterns in the music, and improves sight-reading.
4. What is martellato articulation, and when is it used?
Modern melismatic singing will use the martellato articulation technique in which the singer will pulsate their abdomen to detach each vowel. It lightly and brightly creates a run with improved accuracy of tempo.
5. What are the characteristics of uniform vowels?
Uniformed vowels are needed during singing in order to achieve greater vocal resonance and tonality. Vowels are placed in a vertical position with height of the soft palate and a semi-oval shape of the lips to create a smooth transition from one vowel to the other. It is also imperative that the singer’s jaw remains relaxed to avoid any impedance of the tone. These characteristics are necessary to master within singers and choirs for blending purposes and the overall tonality of the music.
6. Why should the choral director discuss the meaning and mood of a composition with the choir members?
Musicians in general are guilty of not truly knowing what they are performing. Two choirs can sing the exact same song perfectly but one choir will just sing it while the other is living it. The audience can hear and feel the intensity of the chords, notes, and phrases with the energy behind the text. The human impact must live within the music and text giving rise to tears, goosebumps, and laughter or else the music is nothing more than vibrations in the air.
7. What are the four “energized” parts of the vocal skills development outline?
The first is energizing the body which includes physical conditioning and posture development. The second part is energizing the breath which consists of breathing motion, breath control, ad breath support. The third part is the energizing the ear by means of inner hearing and intonation. Lastly is energizing the voice where humming and staccato articulation is utilized.
8. What are four causes of poor intonation, and how can these be remedied?
The four causes of poor intonation are 1)psychological origins 2) physiological origins 3) key of composition and 4) scooping and slurring. Psychological origins denotes the poor sense of the singers alertness and audiation of pitch. The singer can help this issue by exercising inner-hearing drills that aid in aural skills. Physiological origins stem from a possible under or overdeveloped breathing musculature that causes tension within the vocal tract resulting in the pitch going sharp or flat. Room temperature, vowel uniformity, and singer fatigue are also possible origins. Best practices for singers is to rest before a performance and remain physically and mentally cognisant. The Key of composition refers to modifying the original key in which a composition was composed in order for it to work with a choir. The remedy is, at times, to actually raise the key instead of lowering it. Raising the key will force the singer to remain on top of the pitch instead of going flat. An overwhelming offender of poor intonation is scooping and slurring. Out of habit, singers will often use their speaking voice to phonate musical lines because their hear pop singers perform this way or they are unaware of any other way to sing except using their own speaking voice. Directors can utilize remediation exercises where the singers perform the song staccato which takes away the drive to scoop or slur. Once the melody is under control, the director can then incorporate legato phrasing to smooth out and focus the singers voice on the center of the pitch.
Vocal Health Tips and Websites
As a voice/chorus teacher, questions about what to do for sore throats are constant. I must emphasize that I am NOT a doctor nor do I have any practice in medicine; however, I do have some good advice on quick help for your voice. I do strongly recommend you to seek professional medical care should the situation worsen each day.
1. Drink plenty of water. You should already be doing this every day. As a rule with my students, when you pass by a water fountain...take a drink.
2. Get Plenty of Rest! A late night here or there will not kill you.. just be smart.
3. Avoid tea, coffee, and dairy before singing because these can dry your throat out.
4. Take Vitamin C tablets or eat fruits/vegetables rich in Vitamin C to aid your bodies natural defenses. Warm Lemon & Honey or Blackcurrant both contain vitamin C and anti-viral properties; and fresh ginger has natural anti-inflammatory properties - grate a little ginger and add it to hot water, sweeten with honey if required. Do NOT drink it HOT. Let it be warm. Extreme hot and cold liquids can aggravate sore throats.
5. Harsh coughing can injure your voice! Cough syrup and lozenges can help. Ricola, Vocalzone, and Slippery Elm lozenges and other products are used by singers to soothe a sore throat. Throat clearing and harsh coughing are traumatic to the vocal cords and should be reduced as much as possible. One of the most frequent causes for throat clearing and coughing is thick mucus (due to dry vocal folds) or too much mucus (as with a cold) on or below the vocal folds. The safest and most efficient way to clear mucus is by using a gentle, breathy cough where there is high airflow with little sound. This can be done by using the following steps: take in as deep a breath as possible, momentarily hold your breath, and produce a sharp, silent “H” sound while you expel the air.
6. Inhalation of hot water vapors, with or without a few drops of Eucalyptus helps to clear the sinuses. Brands like Karvol, Olbas Oil and Vicks Vaporub use aromatherapy oils as their main ingredient. Be careful using these products because menthol can have a drying effect...use sparingly.
7. Do NOT attempt to Sing and avoid talking until all medication is finished to allow the swelling time to reduce.
8. On recovery start with some gentle humming for 5-10 minutes at a time and slowly build up to a few vocal exercises in your mid-range gradually expanding the range over several days. The rate of recovery will depend on the severity of illness and how experienced a singer you are. Any recurrence of hoarseness, stop and rest the voice for another couple of days. It would most likely be a good idea to see a doctor at this time too.
Good websites to check out for references on vocal health.
www.radford.edu/~dcastong/ARTARCH/vocal.html
www.yourtype.com/survive/home_remedies.htm
1. Drink plenty of water. You should already be doing this every day. As a rule with my students, when you pass by a water fountain...take a drink.
2. Get Plenty of Rest! A late night here or there will not kill you.. just be smart.
3. Avoid tea, coffee, and dairy before singing because these can dry your throat out.
4. Take Vitamin C tablets or eat fruits/vegetables rich in Vitamin C to aid your bodies natural defenses. Warm Lemon & Honey or Blackcurrant both contain vitamin C and anti-viral properties; and fresh ginger has natural anti-inflammatory properties - grate a little ginger and add it to hot water, sweeten with honey if required. Do NOT drink it HOT. Let it be warm. Extreme hot and cold liquids can aggravate sore throats.
5. Harsh coughing can injure your voice! Cough syrup and lozenges can help. Ricola, Vocalzone, and Slippery Elm lozenges and other products are used by singers to soothe a sore throat. Throat clearing and harsh coughing are traumatic to the vocal cords and should be reduced as much as possible. One of the most frequent causes for throat clearing and coughing is thick mucus (due to dry vocal folds) or too much mucus (as with a cold) on or below the vocal folds. The safest and most efficient way to clear mucus is by using a gentle, breathy cough where there is high airflow with little sound. This can be done by using the following steps: take in as deep a breath as possible, momentarily hold your breath, and produce a sharp, silent “H” sound while you expel the air.
6. Inhalation of hot water vapors, with or without a few drops of Eucalyptus helps to clear the sinuses. Brands like Karvol, Olbas Oil and Vicks Vaporub use aromatherapy oils as their main ingredient. Be careful using these products because menthol can have a drying effect...use sparingly.
7. Do NOT attempt to Sing and avoid talking until all medication is finished to allow the swelling time to reduce.
8. On recovery start with some gentle humming for 5-10 minutes at a time and slowly build up to a few vocal exercises in your mid-range gradually expanding the range over several days. The rate of recovery will depend on the severity of illness and how experienced a singer you are. Any recurrence of hoarseness, stop and rest the voice for another couple of days. It would most likely be a good idea to see a doctor at this time too.
Good websites to check out for references on vocal health.
www.radford.edu/~dcastong/ARTARCH/vocal.html
www.yourtype.com/survive/home_remedies.htm