Dear Gina and Vocalisters:
What you are experiencing as a dramatic voice is not unusual especially as
it relates to your top tones. The dramatic voice has a richer quality
because it tends to emphasize the first vowel formant which gives the voice
its "dark" portion of the "bright-dark" (chiaroscuro) quality that is so
desired in a professional singer. However, as the female voice sings above
the treble staff, (G5 and higher) the sung pitch (fundamental) is higher
than the first formant pitch of the vocal tract.
Consequently, the singer must raise the first formant pitch of the vocal
tract. She can only do this by
1) opening the mouth through lowering the jaw,
2) spreading the lips in a kind of smile,
3) raising the larynx.
Any one of these devices will raise the first formant pitch of the vocal
tract so that it will match the sung pitch. Of course the higher the sung
pitch, the more adjustment of the vocal tract is required. Most singers
prefer to lower the jaw because it will be more likely to retain the darker
quality of the [a] vowel as in "father". Spreading the lips in a kind of
smile will alter the vowel toward an [ae] quality as in "cat". On very
high notes, especially in coloratura sopranos both the lowering of the jaw
and the spreading of the lips are common.
The last option is not possible for you because you have been trained to
keep the larynx down. To raise it even slightly will brighten your tone
excessively and create a voice quality that is not in keeping with the
balance of your tonal training. However, a surprising number of sopranos
do raise their larynx slightly, if imperceptibly, for their highest notes.
Done excessively, this pracitce gives the soprano the operetta quality such
as found in earlier forms of singing in this genre.
Forward placement is merely an attempt to keep some of the second vowel
formant active in the voice. Brightening the vowel will accomplish the
same goal. Attempting forward placement while, simultaneously, attempting
to sing a dark vowel is often an exercise in futility. However, it is
possible to maintain a sense of spaciousness in the vowel even if a
brighter form of the vowel is chosen. The spaciousness gives the first
formant darkness and the brightening gives the second formant intensity.
Your breathing concept is in keeping with the concept of keeping the larynx
down. Both concepts are necessary if a strong muscular antagonistic
approach to the dramatic voice is sought. There are other approaches to
training the dramatic voice but I would not recommend them now that you
have begun on the technical approach you have chosen.
Your voice will likely sound extremely loud to you within your own head,
especially on your top tones. This is normal and should not be used as a
judgement of the quality of your voice in this range. Record yourself on
good equipment. If the quality of your top tones does not please you, play
it for your teacher and share with her your concerns.
The dramatic use of the high voice is a demanding and intricate art. You
will learn how to do it in time. Keep working intelligently.
Regards
--
Lloyd W. Hanson, DMA
Professor of Voice, Vocal Pedagogy
School of Performing Arts
Northern Arizona University
Flagstaff, AZ 86011
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