Both over- and under- pronunciation of consonants in singing are indeed
imbalance risk factors, whether rhythmically, as you pointed out, or
acoustically.
I believe vowels and consonants go together like horse and carriage, and
tearing them asunder in order to give them unequal treatments is wrong. Not
only in speech but also in singing does a combination of groomed vowels and
slipshod consonants (or conversely, though rarely) sound unnatural.
Why? Because consonants generate transients that blend into the following
vowels frequencies, making the "ah" in "pah" acoustically different from
that in "kah", for instance.
A subtle, yet audible difference.
One of the primary uses of the Belcanto tool being the smoothing out of the
rough patches in order to optimise loudness in a non-amplified world, the
classical singer is all too often taught to mould an ideal vowel, instead of
having to cope with a real consonant-borne one. Wouldn't it make more sense
to "syllabl-ise" than to vocalise? If learning to successfully steer away
from reefs is the real purpose, then let there be reefs on the course.
BJJA
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