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From Baritone to Tenor: Making the Switch

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From Baritone to Tenor: Making the Switch From Baritone to Tenor: Making the Switch D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts In the Graduate School of The Ohio State University By Weilong Tao, MM Graduate Program in Music The Ohio State University 2018 D.M.A. Committee: Scott McCoy, Adviser Katherine Rohrer Robin Rice Thomas Wells Copyright by Weilong Tao 2018 Abstract The first chapter of this paper examines and classifies a particular vocal subcategory—the “baritenor” —from a pedagogical, technical, and professional (career) perspective. Multiple criteria, such as registration events, vocal range, timbre, and tessitura are examined in an attempt to determine whether a young baritone has the potential to become a dramatic tenor or Heldentenor. Building upon the pedagogical theories of Richard Miller and others, Chapters 2 and 3 explore how the baritone-about-to-be-a-tenor can use vocal exercises as a means to master the techniques demanded by tenor singing. Chapter 3 provides vocal advice and presents exercises necessary to address the various technical issues present in Italian art songs and arias. ii Dedication This document is dedicated to the memory of my mentor, Herta Glaz. iii Acknowledgements I would like to express my gratitude to my committee: Dr. Katherine Rohrer, Dr. Robin Rice, Dr. Thomas Wells, and Dr. Scott McCoy, for your feedback, your support and encouragement in the completion of this document. To my advisor and voice teacher, Dr. Scott McCoy, I would like to extend special thanks for constantly challenging me to do my best throughout this degree. Also, thank you to my former voice teachers: Cao Yuping, Liu Chixia, Ge Chaozhi, Herta Glaz, Daniel Ferro, Arthur Levy, Carlo Bergonzi, Pier Miranda Ferraro, Gianfranco Cecchele, Franca Ostini, and Roelof Oostwoud. You all have inspired and helped nurture me to become a better performer and teacher. I thank Sean Ferguson, a librarian with extraordinary knowledge, for your invaluable help. Thank you, David Tomasacci, for your tireless work in engraving examples for this document. Finally, I thank my family, my wife Yan, and my daughter Sonia. I could not have completed this degree without your unending support and love. iv Vita Febuary1982…………………………….B.A. Music, Anhui Normal University July 1985………………………………..Voice, Shanghai Conservatory of Music July 1989………………………………..Voice, University of Southern California July 1991………………………………..Opera, The Juilliard School 1991-2012………………………………Professional Baritone and Tenor, in over 40 Major European Opera Houses May 2014………………………….……M.M. Voice, University of British Columbia August 2015 to present………………....Graduate Teaching Associate, Music School, The Ohio State University Fields of Study Major Field: Music Concentration: Voice Performance and Pedagogy v Table of Contents Abstract…………………………………………………………………………................ii Dedication……………………………………………………………………………….. iii Acknowledgments………………………………………………………………………..iv Vita…………………………………………………………………………………….......v List of Tables……………………………………………………………………………..ix List of Figures……………………………………………………………………………..x List of Examples……………………………………………………………………….....xi List of Exercises………………………………………………………………………..xiii Chapter 1: Aspects and Problems of Voice Classification………………………………..1 §1.0. Introduction………………………………...………………………………..1 §1.1. Baritone or Tenor?..........................................................................................3 §1.2. Registration………………………………………………………………….8 §1.3. Vocal Registers………………………………………………………….....10 §1.4. Register Terminology………………………………………………………17 §1.5. Registration Events………………………………………………………...21 §1.6. Registration Events In Baritone And Tenor……………………………......25 Chapter 2: Pedagogic Techniques for the Baritone Transitioning to Tenor……………..37 §2.0. The Baritone-about-to-be-a-Tenor…………………………………...…….37 vi §2.1. Balanced Breath Control………………………...…………………………39 §2.2. Active Vowel Modification…...………………………..………...………...43 §2.3. Acoustic Registration…………………………………………….………...47 §2.4. The “Bad” (but Good) Vowel [æ].................................................................55 §2.5. Early and Gradual Blending..........................................................................55 §2.6. Sobbing and Falsetto.....................................................................................57 §2.7. A Warning for the Baritone-About-to-be-a-Tenor........................................60 Chapter 3: Pedagogic and Performance Approaches to Selected Italian Art Songs and Opera Arias............................................................................................................62 §3.0. Introduction...................................................................................................62 §3.1. Tessitura........................................................................................................65 §3.1.1. Pedagogic Observation: Giulio Caccini, “Amarilli, mia bella”.................67 §3.1.2. Pedagogic Observation: Francesco Paolo Tosti, “Non t’amo più”............71 §3.2. Vowel Modification......................................................................................74 §3.2.1. Pedagogic Observation: Gaetano Donizetti, “Quando è bella” from L’elisir d’amore……………………………..…………………………….………….…..78 §3.2.2.Pedagogic Observation: Giuseppe Verdi, ”Ah, la paterna mano” from Macbeth…………………………………………………………………………..83 §3.3. The Vowel [æ]...............................................................................................88 vii §3.3.1 Pedagogic Observation: Giuseppe Verdi “Dio, mi potevi, scaglia” from Otello………………………………………………….………………………….93 §3.4. Sobbing.........................................................................................................96 §3.4.1. Pedagogic Observation: Giaccomo Puccini, “Recondita Armonia” from Tosca………………………………………………………...………………..….98 §3.5. Conclusion...................................................................................................102 Bibliography....................................................................................................................104 Musical Scores.................................................................................................................107 viii List of Tables Table 2-1. Vowel Modification (after Miller)……………………………………..…......45 Table 2-2. McCoy’s “Table of F1 frequencies of five cardinal vowels”…………….…..50 Table 2-3. The vowels’ F1 locations (after Bozeman)……………………………..……51 Table 3-1. Caccini, “Amarilli, mia bella”—Overview…………………………...……...67 Table 3-2. Francesco Paolo Tosti, “Non t’amo più” —Overview.....................................71 Table 3-3. Vowel Modifications (after Miller)..................................................................76 Table 3-4. Donizetti, “Quando è bella” from L’elisir d’amore—Overview……..............78 Table 3-5. Giuseppe Verdi, “Ah, la paterna mano” from Macbeth—Overview………...83 Table 3-6. Giuseppe Verdi, “Dio, mi potevi, scaglia” from Otello—Overview…...........93 Table 3-7. Giaccomo Puccini, “Recondita Armonia” from Tosca—Overview………….98 ix List of Figures Figure 1-1. The Baritone Range……………………………………………………..…….3 Figure 1-2. Hybrid Range………………………………………………………...……….6 Figure 1-3. Lyric Bass Passaggi (after Miller)………………………………….….…....28 Figure 1-4. Bass – Baritone Passaggi (after Miller)…………………………..……...….28 Figure 1-5. Dramatic Baritone Passaggi (after Miller)……………………..………...…29 Figure 1-6. Lyric Baritone Passaggi (after Miller)…………………………..…….….....29 Figure 1-7. Tenore Robusto Passaggi (after Miller)………………………..…….…...…29 Figure 1-8. Lyric Spinto Tenor Passaggi (after Miller)…………………….…….….......30 Figure 1-9. Lyric Tenor Passaggi (after Miller)…………...…….........................………30 Figure 1-10. Tenore Leggero Passaggi (after Miller)……………………….……...…...31 Figure 2-1. McCoy: Natural harmonic series from C2…………………………………..49 x List of Examples Example 3-1. Caccini, ”Amarilli, mia bella” measures 1-7……………………...…...….68 Example 3-2. Caccini, ”Amarilli, mia bella” measures 36-42…….……………………..68 Example 3-3. Caccini, “Amarilli, mia bella” measures 43-49…………………...…..…..69 Example 3-4. Tosti, “Non t’amo più” measures 1-4..........................................................72 Example 3-5. Tosti, “Non t’amo più” measures 13-16......................................................72 Example 3-6. Donizetti, “Quando è bella” (from L’elisir d’amore), measures 5-11……79 Example 3-7. Donizetti, “Quando è bella” (from L’elisir d’amore), measures 29-37….80 Example 3-8. Donizetti, “Quando è bella” (from L’elisir d’amore), (cadenza)…………81 Example 3-9. Verdi, ”Ah, la paterna mano” (from Macbeth), measures 8-9…….….......84 Example 3-10. Verdi, ”Ah, la paterna mano” (from Macbeth), measures 17-18…...…...84 Example 3-11. Verdi, ”Ah, la paterna mano” (from Macbeth), measures 26-28…….…85 Example 3-12. Verdi, ”Ah, la paterna mano” (from Macbeth), measures 32-34….……85 Example 3-13. Verdi, ”Ah, la paterna mano” (from Macbeth), measures 37-39………..86 Example 3-14. Verdi, ”Ah, la paterna mano” (from Macbeth), measures 41-43....……..86 Example 3-15. Verdi, ”Ah, la paterna mano” (from Macbeth), measures 23-24………..87 Example 3-16. Verdi, “Ah, la paterna mano” (from Macbeth), measures 44-45………..87 Example 3-17. Giordano, “Come un bel di” (from Andrea Chénier), measures 47-50…90 Example 3-18. Massenet, “Pourquoi me réveiller” (from Werther), measures 14-15…..90 xi Example 3-19. Puccini, “Che gelida manina” (from La Bohème), measures 65-66…….91 Example 3-20. Puccini, “Nessun dorma”
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