the vocal pedagogy workshop 2007 1 flapping jaws and acoustic laws: the singer’s guide to inertive...
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Flapping Jaws and Acoustic Flapping Jaws and Acoustic Laws:Laws:
The Singer’s Guide to Inertive The Singer’s Guide to Inertive Reactance (and the Reactance (and the Voce Voce
ChiusaChiusa))
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Purpose:Purpose:
To explore how specific To explore how specific manipulations of the vocal tract can manipulations of the vocal tract can help us achieve our artistic goals:help us achieve our artistic goals: Elongating and narrowing the Elongating and narrowing the
epilaryngeal tubeepilaryngeal tube Controlling the opening of the mouthControlling the opening of the mouth
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But first:But first:
Vocal Tract Acoustics Vocal Tract Acoustics ‘101’‘101’
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What is Resonance?What is Resonance?
Resonance is a reinforcement of a Resonance is a reinforcement of a natural behavior or phenomenon natural behavior or phenomenon
Acoustic resonance is an intensification Acoustic resonance is an intensification of sound by sympathetic vibration of of sound by sympathetic vibration of two or more things two or more things
Vocal tract resonance is a selective Vocal tract resonance is a selective reinforcement of a few source (larynx) reinforcement of a few source (larynx) frequencies by the vocal tract frequencies by the vocal tract
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Source-Filter TheorySource-Filter Theory
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770 1000 2000 3000 4000 5000Frequency (Hz)
0 1000 2000 3000 4000 5000Frequency (Hz)
0 1000 2000 3000 4000 5000Frequency (Hz)
Glottal Flow Spectrum
Sound Pressure Spectrum
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So, what’s so special about So, what’s so special about singers?singers?
We have to sing LOUDER than We have to sing LOUDER than normalnormal
We have to sing HIGHER than normalWe have to sing HIGHER than normal
We have to sing BEAUTIFULLY at the We have to sing BEAUTIFULLY at the same timesame time
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Solution:Solution:
Inertive Inertive reactance!reactance!
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Thanks to:Thanks to:
Ingo TitzeIngo Titze
www.NCVS.orgwww.NCVS.org
Please visit their Please visit their website!website!
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To get the maximum boost from the vocal tract we can either:
• Resonate one or two harmonics of the source selectively (as in harmonic singing, counter-tenor singing, high coloratura, or whistle voice), or
• Resonate the entire vocal fold vibration process with a vocal tract that stores and returns energy to the glottis
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Linear Source-Filter Acoustics
Nonlinear Source-Filter Acoustics
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Inertance
- sluggishness of response of an air column provides the
feedback energy
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Long, narrow tubes have a lot Long, narrow tubes have a lot of inertance:of inertance:
How does this help us as How does this help us as singers?singers?
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Inertive reactance:
• Skews the flow pulse, • Which increases the maximum flow
declination rate (MFDR), • Which increases the vocal intensity. HOW?• More energy in the higher partials.
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Vocal Folds
Trachea
Piriform Sinus Valleculae
Leakage into Nasal Tract
Lips
Epi-Larynx Tube
Pharynx
Mouth
Vowel /a/ as in “hot” - male
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Formant Tuning in the sopranoFormant Tuning in the soprano
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Formant Tuning in the sopranoFormant Tuning in the soprano
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Singer’s FormantSinger’s Formant
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Singer’s Formant SourceSinger’s Formant Source
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Adds energy to upper Adds energy to upper partialspartials
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Inertive Reactance = (inertance) x (frequency)
• Inertive reactance measures the amount of acoustic energy stored in the vocal tract, and
• It also determines the amount of energy fed back to the glottis to help the vocal folds vibrate
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We lengthen and narrow the tube by:We lengthen and narrow the tube by:
Lowering the larynxLowering the larynx ‘ ‘Squeezing’ the laryngeal Squeezing’ the laryngeal aditus or the ‘collar of the aditus or the ‘collar of the larynx’larynx’
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Inertive reactance is high for
frequencies just below a vocal
tract resonance (formant)
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F1 F2
F1
F1 F2
F2
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Important combination:Important combination:
Length and width of the Length and width of the epilaryngeal tube influences the epilaryngeal tube influences the reactancereactance
Opening of the mouth tunes F1Opening of the mouth tunes F1
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Singing below the first
resonance F1
(chest register and female belt)
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Important harmonics are above F1
Important harmonics are below F1
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Males and female belters
F1 F2
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Classical females and countertenors
F1 F2
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Conclusion 1
• With a wide-open mouth (megaphone shape), a male sound or a female belt sound can be produced as long as F1 is above the second harmonic
• With a wide-open mouth (megaphone shape), a male counter-tenor sound or a female classical lyric or coloratura sound can be produced as long as F1 is above the fundamental
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Important harmonics are above F1
Important harmonics are below F1
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Singing above the first
resonance F1
(mixed register)
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F1 F2
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Conclusion 2
• With a small mouth opening (inverted megaphone shape), a mixed-register male or female sound can be produced as long as F2 is higher than the second harmonic
• With a small mouth opening (inverted megaphone shape), a male counter-tenor sound or a female classical lyric or coloratura sound can be produced as long as F2 is higher than the fundamental
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Overall Conclusion
• In singing, the source (larynx) can be highly interactive with the vocal tract
• Interaction is heightened if some part of the vocal tract is narrow, such as the epilarynx tube; this creates not only vocal ring, but higher overall intensity
• A semi-occluded vocal tract (at the mouth) is very friendly to a mixed register and hence is very useful for training classical singing
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Manuel Garcia II (1805-Manuel Garcia II (1805-1906) 1906)
1832 appointed to 1832 appointed to Paris ConservatoryParis Conservatory
Central figure in Central figure in 1919thth C pedagogy C pedagogy
Famous pupils:Famous pupils: BattailleBattaille StockhausenStockhausen MalibranMalibran MarchesiMarchesi LindLind
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Manuel Garcia II (1805-Manuel Garcia II (1805-1906)1906)
……the human voice is, in the largest the human voice is, in the largest sense, composed of the different sense, composed of the different registers:registers:
ChestChestFalsetto-headFalsetto-head
And two timbres:And two timbres:
Clear timbreClear timbre
Sombre timbreSombre timbre
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Manuel Garcia II (1805-Manuel Garcia II (1805-1906)1906)
““When the larynx produces a tone, When the larynx produces a tone, the pharynx takes possession of it as the pharynx takes possession of it as soon as it is emitted and modifies it. soon as it is emitted and modifies it. Mémoire sur la voix humaine, Mémoire sur la voix humaine, 18401840
Clear timbreClear timbre Offers brilliance and can allow power Offers brilliance and can allow power Carried to exaggeration makes the voice Carried to exaggeration makes the voice
shrill and yelpingshrill and yelping
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Manuel Garcia II (1805-Manuel Garcia II (1805-1906)1906)
““When the larynx produces a tone, When the larynx produces a tone, the pharynx takes possession of it as the pharynx takes possession of it as soon as it is emitted and modifies it. soon as it is emitted and modifies it. Mémoire sur la voix humaine, Mémoire sur la voix humaine, 18401840
Sombre timbreSombre timbre Gives the voice roundnessGives the voice roundness PenetrationPenetration Modifies the falsetto into the ‘head’ registerModifies the falsetto into the ‘head’ register
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Manuel Garcia II (1805-Manuel Garcia II (1805-1906)1906)
Sombre timbreSombre timbre AKA AKA voce chiusavoce chiusa, , voix sombrée ou voix sombrée ou
couverte, couverte, closed timbreclosed timbre Timbre result of the shape of the Timbre result of the shape of the
pharynxpharynx If the larynx rises – clear timbreIf the larynx rises – clear timbre If the larynx remains low – sombre If the larynx remains low – sombre
timbretimbre
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Sombre timbreSombre timbre
Result of inertive reactanceResult of inertive reactance
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Changing TraditionsChanging Traditions
Gilbert-Louis Gilbert-Louis Duprez (1806-96)Duprez (1806-96) 1837 – Paris1837 – Paris Replaced Nourrit as Replaced Nourrit as
Arnold in Rossini’s Arnold in Rossini’s Guilliame TellGuilliame Tell
Do di pettoDo di petto Learned the Learned the
technique in Italytechnique in Italy
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New expectationsNew expectations
““After Duprez, the After Duprez, the ut de poitrineut de poitrine became a requirement for the became a requirement for the Romantic tenor high C, then or now, Romantic tenor high C, then or now, for the success or failure of tenors.” for the success or failure of tenors.” Stark: Stark: Bel Canto: A History of Vocal PedagogyBel Canto: A History of Vocal Pedagogy
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Voix Sombrée!Voix Sombrée!
June, 1840 – Diday and Pétrequin reported June, 1840 – Diday and Pétrequin reported to the Académie des Sciences on the to the Académie des Sciences on the subject of timbre and laryngeal position as subject of timbre and laryngeal position as related to Duprez’s related to Duprez’s do di pettodo di petto.. Voix sombrée ou couverte Voix sombrée ou couverte (dark and covered)(dark and covered)
November, 1840 – Garcia presented his November, 1840 – Garcia presented his theories to the academytheories to the academy Garcia claimed to have been teaching the Garcia claimed to have been teaching the
lowered laryngeal posture and ‘covered tone’ lowered laryngeal posture and ‘covered tone’ since 1832.since 1832.
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Voix Sombrée!Voix Sombrée!
Used for register unificationUsed for register unification Female chest/middle voiceFemale chest/middle voice Male high voice “Male high voice “do di pettodo di petto””
Long history of teaching this method Long history of teaching this method since Garciasince Garcia
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Voix Sombrée!Voix Sombrée!
Attention to the laryngeal posture is Attention to the laryngeal posture is controversialcontroversial
Vowel color can be utilized: [o], [u] Vowel color can be utilized: [o], [u] without mention of the larynxwithout mention of the larynx
Source of much of the controversy Source of much of the controversy throughout historythroughout history
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Voce ChiusaVoce Chiusa
‘‘Comfortably low’ larynx elongates Comfortably low’ larynx elongates vocal tract - increases inertive vocal tract - increases inertive reactancereactance
‘‘Squeezing the collar of the larynx’ Squeezing the collar of the larynx’ narrows the tube - increases inertive narrows the tube - increases inertive reactancereactance
Paying attention to mouth opening Paying attention to mouth opening appropriately tunes F1 to achieve the appropriately tunes F1 to achieve the aesthetic expectationaesthetic expectation
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Singing with the megaphone shape helps
produce high pitches in
chest register (or belt voice) for Fo < 530 Hz
(C5)
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Singing with the megaphone shape
also helps produce high pitches in
classical female and counter-tenor
style for
F0 > 530 Hz
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Males and female belters
F1 F2
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Aesthetics Summary:Aesthetics Summary:
Wide open mouth openingWide open mouth opening Popular styles: belt (male and female), pop Popular styles: belt (male and female), pop
styles, etc.styles, etc. Classical styles: Soprano in her high voice – Classical styles: Soprano in her high voice –
formant tracking, counter-tenorformant tracking, counter-tenor Narrow mouth openingNarrow mouth opening
Popular styles: Country & Western, Popular styles: Country & Western, flageoletflageolet
Classical styles: mixed registers – female Classical styles: mixed registers – female middle, male high voice middle, male high voice
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Pavarotti & The Italian Pavarotti & The Italian TenorTenor
Decca Record Co. Limited, London.Decca Record Co. Limited, London.
‘‘O Colombina’O Colombina’
Pagliacci (Leoncavallo)Pagliacci (Leoncavallo)
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Leontyne PriceLeontyne PriceThe Complete Bell Telephone Hour Performances. The Complete Bell Telephone Hour Performances.
Video Artists International Video Artists International
D’amor sull’ali roseeD’amor sull’ali rosee
Il Trovatore (Verdi)Il Trovatore (Verdi)
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Lauritz MelchiorLauritz MelchiorBel Canto: The Tenors of the 78 EraBel Canto: The Tenors of the 78 Era
KulturKultur
““Morgenlich leuchtend” Morgenlich leuchtend”
Die Meistersinger (Wagner) Die Meistersinger (Wagner)
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Giuseppe di StefanoGiuseppe di Stefano
““Tu che a Dio spiegasti l’ali”Tu che a Dio spiegasti l’ali”
Lucia di Lammermoor Lucia di Lammermoor (Donizetti)(Donizetti)
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