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.