Dear Win and Vocalisters:
Some Comments:
You state that there is a "very light adduction of the (vocal) folds" in mezza voce "whereby they produce much less higher harmonics" If the vocal folds are not adducted completely, the mezza voce quality will be breathy. But mezza voice, when correctly done, does not have a breathy component in the tone. I have not heard the example to which you are referring (by Scott Walker) but it may be that what you describe as his mezza voce is a simulation of this vocal technique with a breathy component present
Singer's Formant is merely a name given to the phenomenon of a very strong amplitude increase in the partial spectrum at about 2800 to 3200 Hrz. If that amplitude increase is not present there is, by definition, no Singer's Formant. The sound that is created by the vocal folds (phonated sound) must contain these partials if they are to be acoustically amplified by the vocal tract. Thus, producing phonated tone that is lacking in partials in the 2800-3200 Hrz range will not be capable of being converted into a Singer's Formant by the vocal tract. It is possible for the vocal folds to produce a partial spectrum that is weak in this Hrz area but richer above this area. This kind of overly bright voice would not contain nor produce a Singer's Formant but it is not uncommon for many to consider the overly bright voice as a proof of the presence of Singer's Formant.
The Singer's Formant is successful in making the voice heard above a large orchestra because it is a strong spectrum of sound that is higher in frequency than the the orchestras greatest sonic strength (2800-3200 vrs 1500 Hrz). Also the Singer's Formant tends to trigger a strong response from the human ear because it resonates so well within the middle ear, which, interestingly enough, has the required similar acoustic area as that which produces the Singer's Formant in the vocal tract. An emphasis of partials above the level of Singers Formant will have an effect on the tonal quality of the voice but, contrary to popular belief, is not helpful in making the voice carry.
You state that "In mezza voce the epiglottis is more open than in 'normal' singing, so it could be that the SF is less pronounced". Can you give me some kind of reference to support the idea that the epiglottis is in this position for mezza voce singing? It may be obvious but I cannot remember having read that it is so positioned.
The "1 to 6 ratio between the tube diameters" you mention does occur in Sundburg and is also explained in Titze. The opening from the larynx into the pharynx via the aryepiglottic must sustain this ratio of difference in both the diameter and area if the Singer's Formant is to be present in the final tone. It is seriously questioned whether it is possible to "shape the epiglottis into a narrow tube by the aryepiglottic muscles" as Mike has stated is a teaching of the Estill school but clearly the ratio of 1 to 6 is created somewhere in this area and has been observed and documented by the above voice scientist and others.
Lowering the larynx has been one of the traditional methods of creating this 1 to 6 ratio (and the resultant Singer's Formant) and, for this reason, has become a major function of voice teaching in much of northern Europe. Italian teaching does not emphasize the conscious lowering of the larynx but the results are often very similar.
A high larynx will shorten the pharyngeal space which, in turn, will tend to resonate the upper partials of the phonated sound giving the voice an overly bright quality. A high larynx will also tend to strongly emphasize the lowest partial of which its shortened space is capable. This will produce the yell or "call voice" quality which is characteristic of much of any kind of singing utilizing a high larynx.
The strapping muscles (so called) are the muscles that pull the larynx down. Some of these are under direct conscious control and can be activated by imitating a yawn. However, other strapping muscles are not as easily placed under conscious control and the singer must learn to maintain a larynx in an at-rest or slightly lower position through special exercises that activate these less directly controlled muscles with the desired result of maintaining an at-rest larynx. The stronger the vocal production, the more active and strong these strapping muscles must be. Classical vocal technique indirectly strengthens these muscles because they are necessary for the un-amplified dramatic use of the voice required for this kind of singing. Microphone singing does not require this degree of strength because the power can be supplied by the electrical amplification.
-- Lloyd W. Hanson, DMA Professor of Voice and Vocal Pedagogy, Emeritus Director of Opera-Theatre, 1987-1997 School of Performing Arts Northern Arizona University Flagstaff, AZ
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