Vocalist.org archive


From:  "Lloyd W. Hanson" <lloyd.hanson@n...>
"Lloyd W. Hanson" <lloyd.hanson@n...>
Date:  Sun Aug 5, 2001  5:46 pm
Subject:  Re: [vocalist] Rock aesthetics and singer's formant (to Mike) was: Seth Riggs...


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




  Replies Name/Email Yahoo! ID Date Size
13604 Re: Rock aesthetics and singer's formant (to Mike Wim Ritzerfeld   Sun  8/5/2001   3 KB

emusic.com