Vocalist.org archive


From:  Reg Boyle <bandb@n...>
Reg Boyle <bandb@n...>
Date:  Tue Jan 2, 2001  6:34 pm
Subject:  Re: [vocalist] Re: Resonance and Tone Color


Dear Lloyd and All,
I feel sure there is no confusion here. It's clear
that you intend this description as a means of using naturally spoken
vowels as a way of identifying basic vocal conditions from which to
advance to singing.
Your method, of cutting away the confusion of terms.

>One must begin with a correct and efficient phonation and understand the
>effects of incorrect phonation on the vocal tone. Pressed or breathy vocal
>qualities, for example, are the results of phonation adjustments and cannot
>be corrected by changes in the resonance characteristics of the
>vocal tract.

Beautifully specific! Though having arrived at the happy condition
between the two, it would be peculiar physics indeed that isolated the
source from the effects of changes in the subsequent load. But I
realise this is the sort of unknown that we must choose to remove
from the process and deal with the accessible, as you do.

Assuming that both the unhappy states are a result of the incorrect
breath pressure, what steps would you take to correct the condition
and make it obvious to the student? Perhaps this becomes clear.

>As phonational concerns are addressed the student can also begin the process
>of understanding vocal resonance. Singers usually are able to pronounce
>all of the spoken vowels in their native language without difficulty. If
>singers are made aware of the tongue and mouth/lip positions used to form
>these vowels, they are well on their way toward producing a quality singing
>tone provided there is no other attempt to "fix" these pronunciations.

Yes, having read on, it becomes obvious that you tie up the BIG THREE
of "phonational concerns" and "understanding vocal resonance" with
the "spoken vowels". So, as I read it, the well spoken vowel leads to a
recognition of optimum breath pressure as well as how the minor
alterations of the tongue and lips etc, affect the spoken resonance.

Now, why are you so emphatic about there being no attempt to "fix"
the pronunciation? Perhaps you mean the student self-consciously
"correcting" the normal speech?


>If the tone is too bright or thin or if the tone is too dark or thick,
>slight adjustments of the tongue, mouth/lips, and pharyngeal space can be
>added or subtracted within the speech vowel function to achieve the desired
>corrections.

Clever..experiencing how tiny changes yield big results.

> Such tonal adjustments are more natural than contrived if
>they can be achieved without attempting to isolate one portion of the vocal
>tract to the exclusion of the others.

I see, you want no separation of the parts before the student
has recognised a well balanced spoken vowel. Thus your
well chosen heading, "Resonance and Tone Color."
This certainly makes it clear why good normal speech
patterns are so important to a singer.

In summary, it appears that you stress both the importance
of recognising good spoken vowel formation as well as the
differences, slight though they are, and where these
differences are changed in the upper resonance system
as a whole. It certainly brings home the importance of
good unaffected speech habits as a prelude to singing
well and tends to explain to me some of my natural
vocal success. : )

Great beginning Lloyd ----- where do we go next?

Regards Reg.



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