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The Vocal Pedagogy Workshop The Vocal Pedagogy Workshop

The Vocal Pedagogy Workshop - PowerPoint Presentation

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The Vocal Pedagogy Workshop - PPT Presentation

Stephen F Austin MM PhD Associate Professor of Voice College of Music 1 Treasure Chest A Review of the Physiology and Historical Pedagogical concerning Vocal Registers 2 The Vocal Pedagogy Workshop ID: 720013

pedagogy vocal voice workshop vocal pedagogy workshop voice singing chest 1967 york register press editions translated edited notes art tones part music

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Slide1

The Vocal Pedagogy Workshop

Stephen F. Austin, M.M., Ph.D.Associate Professor of VoiceCollege of Music

1Slide2

Treasure ‘Chest’

A Review of the Physiology and Historical Pedagogical concerning Vocal Registers

2

The Vocal Pedagogy WorkshopSlide3

Long history of confusion:

No agreement on a definitionNo agreement on how many there areNo agreement on what to call themWe do not understand the focus that was applied on the registers in our historical documents

The Vocal Pedagogy Workshop

3Slide4

Plan:

Understand the physiology of the registersTo understand the pedagogy of utilizing the registers as ‘building blocks’ for vocal growth

The Vocal Pedagogy Workshop

4Slide5

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.”

The Vocal Pedagogy Workshop

5Slide6

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.”

The Vocal Pedagogy Workshop

6Slide7

The Vocal Pedagogy Workshop

7Slide8

The Vocal Pedagogy Workshop

8Slide9

Minoru Hirano “Vocal Mechanisms in Singing: Laryngological and Phoniatric Aspects”.

Journal of Voice, Vol. 2, No. 1, Pp. 51-69. 1988.

The Vocal Pedagogy Workshop

9Slide10

Minoru Hirano “Regulation of Register, Pitch and Intensity of Voice”.

Folia Phoniatrica, Vol. 22, Pp. 1-20, 1970.

The Vocal Pedagogy Workshop

10Slide11

Ingo Titze Principles of Voice Production. Prentice Hall, Englewood Cliffs, New Jersey, Pg. 262, 1994.

The Vocal Pedagogy Workshop

11Slide12

Minoru Hirano “Vocal Mechanisms in Singing: Laryngological and Phoniatric Aspects”.

Journal of Voice, Vol. 2, No. 1, Pp. 51-69. 1988.

The Vocal Pedagogy Workshop

12Slide13

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

13Slide14

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.”

The Vocal Pedagogy Workshop

14Slide15

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.”

The Vocal Pedagogy Workshop

15Slide16

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, but rich in high notes, or head voice . . .”

The Vocal Pedagogy Workshop

16Slide17

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.”

The Vocal Pedagogy Workshop

17Slide18

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. 50, 1967.“As we have said, the chest register is generally denied or rejected by teachers, not that one could not draw from its application an immense advantage, nor that the suppression of the range which it embraces would not deprive the singer of the most beautiful dramatic effects or the most favorable contrasts.”

The Vocal Pedagogy Workshop

18Slide19

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.”

The Vocal Pedagogy Workshop

19Slide20

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.”

The Vocal Pedagogy Workshop

20Slide21

Ingo Titze Principles of Voice Production. Prentice Hall, Englewood Cliffs, New Jersey, Pg. 262, 1994.

The Vocal Pedagogy Workshop

21Slide22

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. 50, 1967.“…because one can approach the study of this register only with the help of profound knowledge, under the threat of ruining the student’s voice, and because the blending of this register with that of the falsetto can be secured only by a long and ably directed labor. It has therefore been judged simpler and more natural to free oneself from the difficulty of studying it.”

The Vocal Pedagogy Workshop

22Slide23

Register rules:

Low and loud = chest voiceHigh and soft = head voiceBreathy and hooty = falsetto

We use these natural responses to train the registers to respond appropriately

The Vocal Pedagogy Workshop

23Slide24

‘Sostenuto

tones in the chest’ – with or without crescendo

The Vocal Pedagogy Workshop

24Slide25

William Vennard Singing: The Mechanism and the Technique

. Carl Fischer, New York. Pg 214. 1967.

The Vocal Pedagogy Workshop

25Slide26

William Vennard Singing: The Mechanism and the Technique

. Carl Fischer, New York. Pg 155. 1967.

The Vocal Pedagogy Workshop

26Slide27

‘Welcoming in the chest’

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27Slide28

“Imposing the chest’

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28Slide29

‘Imposing the chest – II’

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29Slide30

‘Deference to the head’

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30Slide31

The Vocal Pedagogy Workshop

31Slide32

Additional register exercises:

Flute or whistle voice stretches for femalesFalsetto stretches for malesFalsetto ‘break outs’ for men – like Garcia’s middle voice exercises for women

‘Dimmer switch’ exercises from falsetto to chest in men

The Vocal Pedagogy Workshop

32