· ...... EXPLORING THE WHYS OF INTONATION PROBLEMS by Barbara M. Doscher

HETHER IT BE SOLO cannot function cooperatively. The reader, the voice tires and intonation or group singing, cer­ downward tilt creates tension in the suffers. For the solo singer, the cure tainly one of the most neck muscles. Since the larynx is is simple: Do not sing until you common and at the same muscularly suspended in the throat, know the music well enough not to time most noticeable of any constriction in these muscles has tire your voice. all vocal defects is faulty an effect on the function of the vocal intonation. To the trained folds and can be heard in the sound. Young singers too often take a ear, the problem is Again, the most common intonation new song or role to the piano, immediately apparent. What is not result is flatting. (See "Heads Up!" in and, without any knowledge of so clear is the cause of the it, begin to use and problem. Most of us are all waste the voice in a too familiar with the preliminary [study] infamous adjudication sheets that could be equally on which the "I" word has well accomplished on a been repeated under several mechanical instrument. technical categories, They chop and hack at generally with the their voices, but not in admonition to use more any effort at vocal breath support. Alas, bad accomplishment, intonation is not such a merely for the purpose simple matter; there are a of memorizing. It is multitude of reasons why the only when the words problem occurs, some of and music are firmly them related to breathing engraved on my mind and some not. that I use my voice on them.! Easy-to-fix Causes For the choral conductor, First of all, let us consider the situation is more those factors which are easy complex because of the to regulate but sometimes individualistic nature of each overlooked. Is the rehearsal voice and even of the room or performance hall musical background of each too hot? If so, flatting often singer. Sectional rehearsals occurs. provide a partial solution. Is the music held too low? Even more helpful, of If so, the head and chin are course, is a choral group in forced down, and the extrinsic the June 1984 Choral Journal for which the participants come to laryngeal muscles (strap muscles) more detailed information on the rehearsal with the notes and rhythms strap muscles.) learned. A utopian situation? If the singer does not know the Perhaps, but certainly within the Doscher is Professor of Music and Chair realm of possibility for a small, select of the voice faculty at the University of music, his or her mental concept of Colorado in Boulder, Colorado. She is the pitches is tentative; the collegiate group. The best of all also "author of The Functional Unity of the connection between the brain and possible worlds for either solo or Singing Voice, published by Scarecrow the vocal folds is therefore uncertain. choral singer is a keyboard Press. Unless the singer is an excellent sight background extensive enough to

November 1991 Page 25 provide adequate sight reading skills. Even if one is singing with correct and half art. If anything is technique, fatigue sets in after an going to go, it's going to be Fatigue Factors hour of continuous singing, and those muscles in the throat, makes its presence known first in the because the singer has We all know from experience that respiratory muscles. After another 30 demanded more than nature fatigue can produce tension. There is minutes, fatigue may so reduce gave. 3 no single more important prep­ respiratory efficiency that tension aration for any athlete before a will move to the muscles of the neck The same warning is voiced by the "performance" than sufficient rest. and larynx. At this stage, whether it late Berton Coffin, one of America's Singers are athletes as well as artists, be a rehearsal for an opera or a premier voice teachers and the and rest for the singer involves more musical, or a choral rehearsal, the author of several books on the than sleep. As for any athlete who singer needs at least one day of vocal technique of singing. relies primarily on one set of rest. If performance follows the muscles, practice periods must be The wayward conductor will carefully monitored to attain not be able to return to the maximum technical development singer the voice which he has without the negative effects of taken, regardless of any price overtiring. Conductors and music Together with an uneven paid, nor can his singing theater directors with little or no vibrato, faulty intonation teacher, nor his throat doctor. understanding of vocal anatomy and Nor can the singer restore his the functional interdependence of the is the most unmistakable own voice if he has given it singing voice may require singers to indication that the vocal away.4 rehearse for long hours. Such demands are difficult for mature, instrument is out of What do such dire predictions experienced professional singers and balance. have to do with "tuning" the singing almost impossible for the young voice? Together with an uneven singer without incurring extreme vibrato, faulty intonation is the most vocal fatigue. (Any singer under 25 unmistakable indication that the years of age should be considered a vocal instrument is out of balance. It "young singer.") Choral conductors rehearsal almost immediately, seems only logical, then, to alter who promote all-day workshops or performance excitement may those conditions which may foster an two-hour rehearsals just prior to a generate a thrilling sound, but the unhealthy vocal climate, particularly performance are just as guilty of price may be too high for many of if they are products of rehearsal exploiting their singers. the singers. In a recent interview in practices. After all, the reasons for Opera News, Marilyn Horne spoke poor intonation that we have The practice of singing three or bluntly about these dangers. experienced thus far are relatively four hours a day will ruin the simple to correct compared with most robust organ; three half What one usually finds is that technical faults found in the hours a day at long intervals the voice has been overworked, instrument itself. ought to be the maximum of and basically the muscles of the study, and should give throat are what go. It's like any flexibility without risk of athletic thing. As rve said for Maturation Considerations fatigue. 2 years, singing is half athletic Before considering breathing and resonation difficulties affecting intonation, it is only evenhanded to admit that there are conditions for which there are no immediate solutions. A fully mature voice no Raise Funds Marketing Fresh Florida Citrus longer encounters these conditions, but the maturing voice does. Most Make over $6000.00 from a single sale. We're the voices under 30 years of age are still originator of fundraising citrus sales. Call or write today! maturing. 1-800-766-7633 If the voice is growing in size or changing tessitura, unsatisfactory intonation around c1 for males and ,,+,§MIX.)§M:rij;4:iDlj' GROVES) c2 for females is common. In both P.O. Box 1088 cases the lower passaggio area seems Vero Beach, FL 32961 to be most vulnerable to fluctuating intonation, either flatting or sharping, depending upon the vowels affected.

Page 26 CHORAL JOURNAL Another common problem is a particular choral group capable of The simplest explanation for a temporary loss of control of pitch singing it needs a shorter than usual breathy tone, of course, is clavicular when a young singer is learning to rehearsal time. or upper chest breathing. Without "let go" or relinquish an overly­ exception, all who deal with the controlled or pressurized sound. A The Breathing Cause singing voice condemn this practice. change of breath flow coordinated The singer has almost no control with resonance tract shaping creates "To maintain a tonicity of all over air emission. The resulting tone a change in the overall muscular muscles, without rigidity, is an may be breathy, lacking in vitality, response. The balance of the entire absolute necessity." Thus spoke and under pitch, but it also may be instrument consequently is uncertain. Giovanni Battista Lamperti, one of small, tight, and vibratoless. The In both of the above cases, breath­ the great vocal pedagogues of the ends of phrases are almost always resonance coordination and change 19th century.5 The concept sounds flat because there is neither energy of tessitura and! or size, it is not easy simple, but as any serious athlete nor air left. to predict how long the imbalance will attest, it is difficult to Few singers other than absolute will linger before muscular mat­ beginners breath clavicularly. uration and a readjustment of Paradoxical as it may seem, breathing factors produces an even breathiness of tone and the faulty scale. Patience and understanding intonation which accompanies it is are needed, particularly since most Mmcular-skeletal balance not always caused by inadequate singers may not be aware of the is crucial to efficient me "support" by the abdominal muscles faulty intonation. It is a technical of expiration. (See "Breathing: The matter, not a case of poor hearing, of breath. It does no good Motor of the Singing Voice" in the and sometimes a lightening of the March 1987 Choral Journal for a tone and the addition of more top to inhale as much air as detailed description of the physiology mechanism (often called "head possible if exhalation is of breathing.) The opposite problem voice") will help the singer over this seems to be much more prevalent. In difficult period. Another helpful inefficient. the interest of improving breath corrective measure is the addition of "support," singers are encouraged to more air flow. overuse the abdominals. By asking

Is Tessitura to Blame? implement, especially in a culture There is one other factor directly which equates success with trying as under the control of the singing hard as one can. Another "absolute teacher or the choral conductor: the necessity" for a singer, according to tessitura of the piece. If the tessitura Lamperti, is "to remain elastically is too high and stays in the upper solid from the waist to the pelvis."6 passaggio (e-flat2 - t for females and Thus he pinpoints the area of the dl - f-sharpl for males) too long, the body which produces the buoyant, laryngeal muscles, both extrinsic and anticipatory posture we see so often intrinsic, are overtaxed and in top athletes in all disciplines. A intonation becomes unsatisfactory. If widened back, an erect thorax, and the tessitura is too low and the piece a stretched spinal column result in stays in that area too long, the top muscular speed, mobility, and notes often carry too much weight balance rather than sheer strength and are flat. The singing teacher and a static body attitude. There is therefore has as much of an no stiffness of neck, shoulders, or obligation to choose appropriate ;knees, and definitely no pulled-in Elegant literature for a student as to teach chin. A feeling of lightness and him/her how to sing. There is no balance replaces unwanted-muscular Choir & Pulpit Robes more effective way of ruining a tension, and the head-neck-shoulders FREE Full-Color Portfolio performance than being asked to sing relationship is a dynamic, changing the wrong literature for your voice one. or for your level of technical pro­ For most young singers this kind ficiency. In like manner, the choral of kinesthetic awareness must be conductor should carefully consider acquired. It is not a natural physical tessitura in the selection of development, particularly for those repertoire. A first-rate example of an with sedentary urban lifestyles. And extremely taxing line is the soprano yet this muscular-skeletal balance is one (and all the others, for that crucial to efficient use of breath. It One Harmony Place matter) in the "Ode to Joy" of does no good to inhale as much air New London, Ohio 44851 Beethoven's Ninth Symphony. A as possible if exhalation is inefficient.

November 1991 Page 27 for more abdominal activity, which almost heretical position vis-a.-vis Recent studies . . . demonstrate is what happens when a singer tries breath control. that acoustic loading of the to manipulate his or her diaphragm, vocal folds by the vocal tract the functional interdependence of the . . . breath control should not plays a major role in creating breathing apparatus is disrupted. be taught until a free flowing an asymmetry in the glottal What really is needed is coordination tone is mastered. This may airflow. S of the muscular action of the involve even waste of breath in diaphragm, the intercostals, and the the learning. The expression The most common kind of over­ abdominals. The diaphragm is an "breath management" is support puts excessive air pressure on involuntary muscle of inspiration. preferred by many to "breath the vocal folds. Such a situation is Because it has no proprioceptive control" because it does not especially dangerous for young nerve endings, its action cannot be contradict the idea of freedom. 7 singers because the interarytenoid felt. The intercostals are muscles muscles (adductors of the vocal folds) located between the ribs and are I concur. It is better to have a are still developing and because the active in both inspiration and slightly breathy tone with an even extrinsic or strap muscles, which exhalation, especially during the long vibrato and good focus than a crystal play such a crucial role in exhalations needed for singing. The clear, strident sound with no positioning the larynx properly, also abdominals are layered muscles are still immature. The pharynx, which work with the relaxing therefore, is small compared with diaphragm to meter the release of that of a mature singer, and no air. Since the abdominals are macro amount of wishing or special (large) muscles and develop early, It is better to have a vocalizing will enlarge it before those they do not need the same attention extrinsic muscles of the larynx are as the intercostals. The latter are slightly breathy tone with fully developed (average age of 21 or micro (small) muscles and mature an even vibrato and good 22, but sometimes later). If too much later, but with appropriate much air pressure is used on the postural and range of motion focus than a crystal clear, vocal folds and on this relatively exercises, these muscles will acquire strident sound with no small resonance tract, it is rather like strength and mobility. one of those pastry tubes used in When a young singer is asked to fluidity. decorating cakes, too much pressure use more breath "energy" or on too small a cavity - great for encouraged to breath into the lower cake decorating, but not for singing. ribs and expanded lower back, a The long-range effects of this kind of more balanced inspiratory posture abusive behavior, too much air takes place. Semantically, words like fluidity. The latter tone often sounds pressure and not enough air flow, "energy" and "buoyancy" create a slightly under pitch because the air is can be vocal nodules, polyps, chronic less static muscular condition than being pushed through the resonance hoarseness, and/or muscular fatigue. 9 the word "support." If a more tract. Despite a less than thrilling Short-range effects include aerodynamic orlentation toward the sound, no physical damage is done if premature fatigue of the throat breathing cycle is the goal, then a the only areas affected are the muscles, tension in the root of the balanced posture and less air cavities above the larynx. tongue and the soft palate, and pressure are needed .. It is noteworthy Unfortunately, it is difficult, if not faulty intonation. that William Vennard in his classic impossible, to separate resonance book on vocal pedagogy takes an from phonation and breath flow. . . . rigidity of the larynx and tensions in the neck and throat often, although not invariably, stem from overuse of abdominals and concomitant The 130 voice Anchorage 1o Community Chorus is now collapse of the ribs. accepting applications for a permanent part time musical The Articulators director and conductor to begin in the fall of 1992. This part time position involves music selection, It is almost impossible to lay the conducting rehearsals, directing P.O. BOX 103738 blame for faulty intonation on regular and special concerts. Salary ANCHORAGE. ALASKA breathing or resonation alone. The DOE. Application deadline is 99510 three major parts of the singing voice January 1, 1992. Send resume, are: 1) the lungs, 2) the larynx credentials, references and a tape of previous performances, if (vocal folds), and 3) the resonance possible to: The Anchorage Community Chorus, Director Search Committee, cavities. The functional inter­ P.O. Box 103738, Anchorage, Alaska 99510. Direct questions to John M. Brower dependence of these parts is so (907) 337-8748 (after 5:00 PM Alaska Std Time) complete that it is foolhardy to state unequivocally that "such-and-such"

Page 28 CHO~ALJOURNAL is the sole reason for the difficulty. the wide, fast vibrato commonly decrease in air pressure, and 2) self­ "Only," "never," and "definitely" do called a tremolo. Certain intonation extension of the tongue, which may not belong in the voice teacher's problems within a choral section be the only non-invasive way of vocabulary anyway. often can be traced to depressed retraining that unruly bundle of As previously stated, air pressure tongue vocal patterns. The best muscle. can be too great if there is too much Another articulator which often emphasis upon abdominal misbehaves is the soft palate. How contraction. It would seem probable often have you tried to correct an then that too much attention to unpleasant, "nasal" tone by the use thoracic or rib musculature would As a voice grows and of French nasals or with vocalises result in a colorless, breathy sound. matures, seek quality of centered around "ng?" Sometimes In most cases, however, that is not this method works and sometimes it true. Full expansion of the lower ribs tone, not quantity. does not. Why? Certain so-called brings about a strong response from Quantity will take care of "nasal" sounds are not produced by the abdominals without specifically too low a soft palate, the classic asking for extra contraction there. itself, but quality is based cause indicated in the literature, but Because the diaphragm is attached to on a flowing ease of instead by a rigid soft palate. Try the ribs, the sternum, and the spinal imitating a Country-Western sound, column, its descent during production and a focused, either spoken or sung, and note what inspiration must be coordinated with it feels like. Then precede a short expansion of the ribs. At the same centered sound. vocalise with a soft snore to find out time, the three primary sets of whether stiffness is the culprit. abdominal muscles used in singing In all cases of muscular tension also are attached to the ribs. These such as a tight jaw, stiff soft palate, muscles relax slightly during antidote is to precede all vowels in a or depressed tongue, be sure to see inspiration to give the diaphragm vocalize with the unvoiced "th." The whether increased air flow will help free play, then react antagonistically benefits are twofold. 1) an increase the problem. A tongue raspberry or with the diaphragm during in air flow and an accompanying a horse "snuffle" (with the lips) exhalation. The entire breathing complex, from the clavicles to the pubic bone, functions inter­ dependently and in a cyclical manner. If, then, this functional unit is out EMORY UNIVERSITY of balance, either the vocal folds or GRADUATE STUDIES in MUSIC one of the articulators in the resonance tract vainly tries to restore that balance. In the case of excessive MASTER of MUSIC in ORGAN air pressure, the folds may meet with MASTER of MUSIC in CHORAL CONDUCTING too much muscular friction. Unlike the respiratory muscles which can be MASTER of SACRED MUSIC strengthened by careful regular Timothy Albrecht, University Organist exercise, the repeated slapping Alfred Calabrese, Director of Choral Music together of the two arytenoid cartilages can only increase the tissue Don E. Saliers, Director of Master of Sacred Music damage. Possible long-range effects were listed above. In a few cases, Scholarships and generous stipends available the folds behave self-protectively and for promising students. Audition dates include refuse to adduct completely. Of 28 October 1991 and 27 January 1992. course, the result is a breathy, colorless, flat sound. The tone is aesthetically displeasing, but the For information on admissions and financial aid, vocal folds are not incurring please contact: Ben Arnold permanent physical damage. Director of Graduate Studies Much more common is an attempt Department of Music to alleviate excessive air pressure by Emory University pressing on the root of the tongue. Once established, this is an Atlanta, GA 30322 exceedingly difficult habit to erase. It 404/727-6445 brings about a throaty, almost guttural quality in the tone, and over a long period of time can cause

November 1991 Page 29 before the vowel will give almost immediate aural feed-back in terms of intonation and evenness of vibrato.

When the best resonance is heard and felt, the singer will notice that less breath pressure is required,u

Let us turn that sentence around and state that when a steady, ample air B«JlWLGAMES TORONTO flow is used, the best resonance is HALFTIME WASHINGTON, D.C. possible. And as a voice grows and PERF«JlRMA~CIES May 1-4 matures, seek quality of tone, not Dec. 27-30, 1991 LOS ANGELES quantity. Quantity will take care of SAN DIEGO NASHVILLE itself, but quality is based on a NASSAU Dec. 28-31, 1991 flowing ease of production and a ANAHEIM ORLANDO RAPID CITY focused, centered sound. By allowing Dec. 29, 1991- ST. LOUIS the kinesthetic balance of the body Jan. 1, 1992 TORONTO to reinforce the interdependence of ATLANTA breathing and resonation, we gain TAMPA May 8-11 CHICAGO an even scale, a fluid vibrato, and MUSIC MINNEAPOLIS intonation which is faultless in pitch FESTIVALS May 15-18 and in quality of tone. March 27-30 CHICAGO WASHINGTON, D.C. MYRTLE BEACH Notes NEW YORK CITY April 3-6 QUEBEC CITY I Nellie Melba, A Biography (New York: HOUSTON ST.LOUIS Doubleday, 1909), p. 335. NEW ORLEANS VANCOUVER 2 Manuel Garcia, Hints on Singing ORLANDO WILLIAMSBURG (London: Ascherberg, Hopwood and Crew, SAN DIEGO June 5-8 1894), p. 18. April 10-13 ORLANDO " Edwin Newman, "Edwin Newman ATLANTA Interviews Marilyn Horne," Opera News, December 22, 1990, p. 13. NEW ORLEANS WALTmS~EV 4 Berton Coffin, Sounds of Singing SAN ANTONIO "Magic Music Days" SAN FRANCISCO (Metuchen, New Jersey: Scarecrow Press, Year Round Program- 1987), p. 220. WASHINGTON, D.C. Orlando and Anaheim WILLIAMSBURG 5 Quoted in William Earl Brown, Vocal Wisdom (New York: L. Strongin, 1957, April 17-20 ~EW F«JlR 199211 original publication 1931), p. 54. ORLANDO "Festivals at Sea" 6 Ibid. April 21-28 MEXICO 7 William Vennard, Singing: The HONOLULU April 10-13 NCL Mechanism and the Technic (New York: Carl Fischer, 1967), p. 34. April 24-27 BAHAMAS BIngo Titze, "Some Thoughts on Source­ BOSTON April 17-20 Dolphin System Interdependence," The NATS Journal, DALLAS 20-24 Dolphin May/June 1982, p. 28. DENVER 24-27 Premier B Meribeth Bunch, Dynamics of the Singing LOS ANGELES May 1-4 Dolphin Voice (New York: Springer-Verlag, 1982), NASHVILLE NASSAU p.114. ORLANDO 10 Shirlee Emmons, "Breathing for Singing," May 8-11 Premier Journal of Voice, March 1988, p. 34. II Berton Coffin, Overtones of Bel Canto (Metuchen, New Jersey: Scarecrow Press, ... 1980), p. 26 .

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