September 27, 2016

Williams Ch. 1-3

I think it is really important that Williams links emotional connection with vocal technique.  In my opinion it is a given that singing is an important form of communication and I believe emotional connection and communication is the essence of singing. It is important also to create the link between this emotional connection and vocal technique, as both are very closely related. Williams uses the example of someone crying or yelling as a reaction to an emotional experience. These are reactions that are emotionally charged. Uninhibited sounds are generally very healthy and useful when learning about vocal technique, as humans instinctively use their voice properly when emotionally engaged with the sound they are making.  This is a primitive thought, however, extremely relevant to healthy singing. The difficulty is linking the creation of these uninhibited sounds/voiced reactions to singing.  This relates to efficiency. As Williams suggests, good singing is efficient singing. When a person makes a sound that is connected to a natural emotion and human reaction the vocal mechanism works as it was designed, most efficiently as possible so the desired sound is achieved. It is important, although harder to grasp, to achieve this same vocal efficiency while singing. This way the vocal mechanism and associated muscles can work optimally to achieve the desired result- healthy and effortless singing.   

September 22, 2016

Davids- Ch. 5-6

I think it is very important to understand tongue placement in relation to vowel formation and this chapter does a good job of illustrating this. While jaw position is also a factor of vowel formation, I think it is important not to focus too much on the jaw, unless of course there is evident jaw issues. Jaw tension and overuse is very common, especially in untrained singers, therefore discussing how it should move in relation to each vowel can lead to unwanted tension. In other words, the jaw can get in the way of free singing. Desired jaw position is entirely dependant on the individual singer so it is difficult to say exactly how much it should or shouldn’t open. It is perhaps more productive to think of the jaw being relatively uninvolved, opening down and back, with the natural flow of the text. Any kind of extraneous movement, such as jutting the jaw forward, can cause unnecessary tension.

While Davis believes the (u) vowel is one of the most difficult vowel sounds to master, I would argue it is one of the easier vowels as its position is closed and more easily felt forward in the mouth. To inexperienced singers, this would feel more natural than open vowels like (a) or (o) which can run more of a risk of becoming swallowed and trapped too far back in the mouth. This statement, of course, is based on personal experience and could vary from singer to singer.

I think it is very important to remember when reading this text, or any text, that it is only a guideline. Applying this knowledge depends entirely on the individual voice(s) you are working with. It is easy to become overwhelmed by the scientific jargon in this text and forget that there are no hard and fast rules when it comes to teaching singing.

On this blog I will often reflect on readings from two texts in particular: Vocal Technique by Julia Davis and Stephen LaTour and Teaching Singing to Children and Youg Adults By Jenevora Williams.

Vocal Technique- Ch. 1-2

Julia Davis says “the more conductors, teachers, and singers understand vocal technique and the science underlying it, the more readily they can apply these concepts in both individual and ensemble singing” (2012, p. 1). I think too often an understanding and appreciation for healthy vocal technique is overlooked. In my opinion this is at times the case in ensemble singing in particular. The goal is often to achieve a certain desirable uniform sound without thought toward how that sound is being achieved and whether it is coming from a place of healthy singing. Solid vocal technique will not only improve the vocal quality of the voice(s) but will also help signers sing with greater ease, therefore, building their endurance and stamina. An understanding of the pedagogy of the voice, for these reasons and many more, is key.

I am very glad the concept of back expansion is discussed relating to inhalation of breath before the onset of singing. Not only does this allow for more intake of air but also encourages the body to be more open and free, allowing for more efficient use of breath and a clearer vocal tone to be produced.

            Personally I don’t agree with the idea of breath suspension after inhalation. While I understand the concept, suspending or stopping the airflow before exhalation can cause unwanted laryngeal tension. Laryngeal tension will constrict the muscles of the throat, which can then cause a number of other technical issues. I prefer to imagine an uninterrupted breath movement from inhalation to exhalation. If the proper expansion on inhalation has occurred and the throat is open, than the larynx is in the desired low position and the singer is prepared for exhalation and phonation. There is no need to interrupt this flow by stopping the air. Attention should be brought rather to the engagement of the intercostal muscles in order to support the exhalation of the breath. On inhalation the abdominals and intercostals are released and the belly is soft. On exhalation and phonation these muscles engage to help maintain expansion as the air is released and passes through the vocal folds.

Tension is discussed often in these chapters, emphasizing the importance of being tension-free when we sing. While some singers may disagree with me, I am of the opinion that singing should not be tension-free. Tension, in a way, is energy and we need energy to sing. When the tension is misplaced, however, we find technical issues in a voice. This brings me back to the muscles of support. If the intercostals are engaged and the breath is working efficiently, than it is likely other technical issues will not appear. This is efficient use of tension. If this engagement isn’t happening then tension will be misplaced, appearing elsewhere in the body (ex: clenched hands or jaw) and/or in the vocal production (ex: flutter or uncontrolled vibrato).

Vocal Technique- Ch. 3-4

Julia Davis describes the complexity of the vocal mechanism in great detail in her book Vocal Technique. It is evident that her pedagogical knowledge is invaluable, especially to students studying to become vocal pedagogues. In order to fully understand the vocal mechanism, one must fully understand the science behind it. However, since the purpose of ED 2520 is to prepare for choral teaching in a classroom, I believe it is important to recognize and identify the factors most important in learning about efficient vocal function. Otherwise, the necessary understanding for the purposes of this class, might be lost within the complexity of the scientific jargon. I think the most important concept to understand is that of breath support and the muscles involved in supporting the breath. Many other details Davis explains, including subglottic pressure, onset, and resonance, is greatly impacted by the efficiency of the inhalation and exhalation. Much like the domino effect, the way the breath is set up and released will influence the rest of the phonation process and the quality of sound produced.

Secondly it is important to understand the basic function of the vocal folds/glottis. The vocal folds adduct and abduct (close and open), controlled air passes through the glottis and sound is produced. The sound quality produced is dependant on the efficiency of airflow and the onset of the glottis (how the folds open and close). The types of onset, found on p. 51 of the text, are extremely useful in understanding how the vocal folds work, what is most efficient, and what should be avoided when working with young singers. While I completely agree that the coordinated onset is the healthiest and most desirable method, I think it is useful to explore the benefits of each onset. For example, if a singer is demonstrating a hard glottal attack it might be helpful to suggest a breathy onset to counteract the hard closure. Asking the singer to pass more air through the glottis will soften this attack. The same is true for the opposite situation, if an onset is too breathy it might be helpful to teach the student about the glottal onset. If a singer can experience the sensation of closing the glottis, before sound is produced, then he or she might be able to eliminate breathiness by encouraging more complete closure of the folds. The goal of course with these exercises is to eventually achieve coordinated onset where closure of the vocal folds and airflow are simultaneous.

Welcome to TalkSing! This is a space to share thoughts, ask questions, and talk about choral and solo singing. Please feel free to share!

As a singer-teacher I know the importance of talking about singing. It has helped me understand the complexity of voices and the pedagogy behind 'healthy singing', it reminds me why I choose to be a singer, and it continues to strengthen my abilities as a voice teacher. 

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