Dear Vocalisters:
It is a good idea to have as much knowledge about the tongue position for each vowel as is possible. Because we cannot see the position of the tongue for most vowels and the tongue positions we can see gives an incomplete picture of the position of the tongue, it is important to consult accurate drawings of the tongue positions which have been made from x-rays or MRI images. These images will go a long way toward removing the myths that we all have about how we use our tongues as we create our different vowel sounds.
It is possible to have some rudimentary knowledge of tongue position by comparing these positions as we move from vowel to vowel. If one speaks or sings /a/ (ah) and then /i/ (ee), it is discovered that the middle portion of the tongue must move forward and upward until the sides of the tongue touches the upper back molars for the /i/ vowel. During both /a/ and /i/ the tip of the tongue rests behind or touches the lower front teeth.
If one speaks or sings and /i/ vowel and then goes to an /u/ vowel it will be noticed that the tongue moves back and the middle portion of the tongue no longer touches the upper back molars. That portion of the tongue has moved backward as has the rest of the tongue. For most people the tip of the tongue must also move backward slightly away from the lower front teeth.
Many singers maintain a substantial space in the pharyngeal area (back of the mouth) while singing the /a/ vowel but reduce this space when singing the /i/ vowel. The forward movement of the tongue necessary for the /i/ vowel induces this change of pharyngeal space. If, however, the singer become aware that the /i/ vowel has greater space behind the tongue, because the tongue has moved forward and upward into the front area of the mouth, and attempts to sense the sound in this behind-the-tongue area, he/she will discover the space that creates the first formant for the /i/ vowel and which gives the /i/ vowel its potential dark color to match the bright color produces by the tongues moving forward. In short, the /i/ vowel creates a large space behind the tongue in the pharyngeal area (if the singer does not collapse the area when producing the vowel) and a very small space in front of the tongue in the forward portion of the mouth. These two spaces resonate the two formants for the /i/ vowel; one very high (small front space) and one very low (large back space).
The /u/ vowel tongue position creates two similar sized spaces because the tongue has moved back slightly from the /i/ position which enlarges the front mouth space and reduces the back pharyngeal space. These somewhat similar spaces create the two formants for the /u/ vowel which are both rather low in the frequency spectrum and both close together in comparison to the wide separation of the two formants for the /i/ vowel. This knowledge makes it possible for the singer to eventually feel the formant position for the /u/ vowel and remove the tendency many singers have of trying to create contradictory tongue/mouth positions for this vowel.
Lip rounding on any vowel will effects the degree and amount of high frequencies that are allowed through the vocal tract. The rounding lips tends to dampen the high frequencies and give any vowel a less brilliant quality. Lip rounding becomes a special problem for the /u/ vowel because many consider lip position as the primary source of the production of this vowel. As is noted above, it is primarily the tongue position that creates the basis for the /u/ vowel. Lip rounding will change the color of this vowel as needed and desired by the singer. Too much lip rounding will give the /u/ vowel a dull, hooty quality. A smiled lip position for the /u/ vowel will give it a strong degree of brilliance. The singer must decide what degree of brightness is desired for the /u/ vowel and this is often determined by the setting and the frequency of the pitch on which the vowel must be sung.
Male voices often find the /u/ vowel difficult in their passaggio area, especially the upper portion of their passaggio. This is because the /u/ vowel (and also the /i/ vowel) tends to trigger the head voice to appear at a lower frequency of pitch than the /a/ vowel. The head voice in the developing singer is often not especially strong near the lower end of this register and the singer, consequently, feels hampered by the /u/ vowel which tends to enlist the head voice in this, its weaker region. However, the use of /u/ or /i/ in this passaggio area will tend to strengthen the head voice in its lower reaches and, eventually will provide the ring and strength desired. The use of the /u/ and /i/ and also the /o/ and /e/ is one of the finest methods of conquering the difficulties of the passaggio area in male voices.
-- Lloyd W. Hanson, DMA Professor of Voice, Pedagogy School of Performing Arts Northern Arizona University Flagstaff, AZ 86011
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