F o o * rr r a c
This serieswas previouslypublished in The Pitch Pipe duringthe mid-90s.The serieswas so popularduring its first run we have decidedto update it and bring it back for an encore.
have the time or money for individual to play it properly. The human voice is vocal instruction. Even so, there is a the most versatile and flexible of musi- way to become a better singer: do-it- cal instruments. Since we sing with our yourself vocal production lessonsl whole body, it is important, and the With this article, we begin a jour- basis ofall good singing, to learn how ney that will continue over the next to hold the body properly. several issues of Tbe Pitch Pipe. The The ultimate goal in singing is a goal of the series is to present informa- freely produced, rich, open and res- tion in such a way that each reader will onated sound. The vocal apparatus be able to learn and practice improved must be relaxed. The way the body is By fu tty Clipnut rt,I ttI cnu t tlon,rI vocal production techniques, even if it held -its posture- has a major impact Boail of' D irct'to r,,, Ho u.rto rt Honl.:rttt is not possible to take professional on whether the vocal mechanism can C/.ronn,,Rqqlon 10 vocal lessons.So lets begin ... remain relaxed and free. Posture is the basis ofall good 'When Every Sweet Adeline loves to sing. singing. you study a musical Commonposture problems: Whatever we derive from our member- instrument, you are first taught to hold l. Locking the knees - When the ship, it is much more rewarding for us it correctly so that you have the ability knees are locked, the body is offbal- when we sing well. Thus, we have ance. This causes body tension, which great drive throughout our organiza- creates a tense singer. Be sure to put tion to do so. The better each member Vocalskills are the weight forward on the balls of the sings, the better the quartet or chorus feet and keep the tail bone tucked sounds and the more rewarding the the key ingredients under to help avoid inadvertent lock- experience for every member. ing ofthe knees. Vocal skills are the key ingredients for all performing 2. Sr.r'ayback - Sometimes a for all performing groups, and individ- singer tries to attain a lifted chest by ual vocal lessons are the ideal way to groups. pulling the shoulders back (and con- improve; however, many of us don't sequently tensing them) instead of
10 Tur PIrcH PII,t July2004 F e a t rr r e s
using the muscles around the rib Sincewe singwith taining the position of a high, cage to lift the ribs out of the waist- wide, open rib cage. line. The intercostal muscles sur- our whole body,it Note that the danger in this exer- rounding the ribcage are the muscles cise is tension and overexertion. It that should be used to lift the ribs is easy to become tense about not and the sternum. When the shoul- is importantnand allowing the rib cage to collapse. ders are pulled back instead of the Remain conscious of keeping free sternum being lifted high, and the the basisof all of tension, constriction and tight- buttocks are not tucked under but ness in the shoulder and chest are thrust backward, swayback pos- good singing,to ,ld. ^t.r". XJ ture is the result. In this tense, unbalanced position, good vocal pro- learnhow to hold tl duction is not possible. 3. Chest droop - As a musical the bodyproperly. phrase is sung and air is exhaled, it is easy to allow the chest to cave in and the rib cage to &op back into the waistline. At the end of the phrase, if SampleExercise this occurs, the singer has lost the Since posture is a key ingredient height of the sternum. As you sing a and the basis for all good singing, it phrase, consciously retain the height is important for every singer to prac- ofthe sternum and resist the collapse tice often enough and long enough to ofthe rib cage. make correct posture a habit. Even You might have other posture after you consider yourself an expert, problems as well as these three com- it is vital to continue to monitor your mon ones. To monitor your posture, posture, because it is extremely easy look in a full-length mirror and cor4- to lapse into incorrect body align- pare your body alignment to the ment. Maintaining correct posture illustration here and the example even for the length of one song photograph. Check each ofthe ten requires considerable muscle elements listed beside the illustration strength and control. Regular prac- (feet, weight, knees, buttocks, etc.). tice sessions help build strength and More information about proper endurance as well as reinforcing the singing posture is available from techniques themselves. many sources; an excellent one is Here is a simple exercise that will h tto ://www. du m m ies.com/Wil evC D help you develop strength and A/DummiesArticle/id- endurance in the intercostals muscles, 2 0 15ol02 Csubcat-ARTS.htm l, so that they are more able to hold the another one is How to Train Singer,t, a rib cage high and wide more effi- book and audiotape package by ciently and for longer periods of time: Larra Browning Henderson. Both . Take in a full breath through the sources include many good exercises nose, inhaling as much air as possi- as well as vocal production theory. ble but without creating any ten- The book package is available sion in the chest or shoulder area. through international sales. Expand the rib cage to its capaciqz. If all singers in a chorus will prac- r Now exhale, using a hissing tice and attain good posture, it will sound like air escaping from a make a noticeable difference in the tire, as you count slowly from overall sound ofthe group. So I chal- one to eight. Resist the inclina- lenge you to master correct singing tion to allow the rib cage to col- posture. When you do, you will notice lapse while exhaling; use the a significant improvement in the qual- intercostal muscles to keep the iqr of your voice. And you will be pre- rib cage high and wide. pared to begin work on the next key o Continue to perform the exer- ingredient of vocal production: breath- cise on a daily basis, gradually ing. We will take up that subject in building up your exhalation the next issue of Tbe Pitcb Pbe, time to l6 counts while main-
July2004 THr PrrcH Ptrr 11 I | tuDa d i Jtr.'z| I -.-- Thisseries was previouslypublished in The Pitch Pipe duringthe mid-90s.The series was so popularduring its first run we havedecided to updateit and bringit back for an encore.
prop- for the soundswe produce' lungs. If the muscles are working By Betty Clipnuut, pat intenntbnnl prati' is the fuel to sup- th" singer does not have to help the of ?it'ectorr, nut'tter We see,then, how important it is ?ent, itzternational boafi ""1y, ensure that proPerlY. airinto the lungs, but simply ?irectoajdge qeci'tli'tt nwderuto4 certifb) ply the fuel in breathing the passageway is open. It is the move- ju)ge, Horizon Chondt, Region l0 The muscles involved Hotuton muscles and are the intercostal muscles, including the of th" intercostals -".rt inhalation to epigastrium and the abdominai muscles, diaphragm that causes including the di"phragm. (Ifyou are not occllr, breathing for singing familiar with the epigastrium, place your What makes or other special- right hand just belowyour breastbone, different from normal action of the rib where you can feel the inverted V of ized breathing is the breathing, the rib cage your rib cage. Make a fist with your left cage. In normal in oxygen, then col- hand, put it toyour mouth and blow to bring "rp.ttd" as the breath is used' In gently onto the fist without allowing any 1"p"". o" Iowers to create a feeling of air out. Your right hand will feel the epi- .iogog, we want lungs in the inter- gastrium pop firmlY outward.) frrm support for the muscles, so that as The lungs are where the fuel is costals and epigastrial not we use the air the rib cage does not col- of do-it-yourself stored, but the lungs are organs, We began this series resist- elastic, but not capable lapse. It is a feeling of nonviolent production lessons in the July muscles; they are vocal the rib cage high and movement unless the ance - keeping issue of The Pitch Pipe by discussing pos- of independent The wide and not allowing the ribs to drop all good singing, and we movement is initiated elsewhere' ture, the basis of about this attached to the rib cage and to into the waistline. @e talked continue today by taking up breathing lungs are is in the posture article in the July issue; It is important to the di"phragm. When the rib cage and breath suPPort. review it pulls the lungs upward and you maywant to go back and realize that all of the subjects we will dis- ">rp"rrd"d, diaPhragm is low- that article.) in this series are interrelated: Proper outward; when the cuss intercostal and epigastrial ered, it pulls the lungs downward' When Practicing posture is critical to ProPer breathing, manner, breathing helps the singer because suc- just is the basis of all good the lungs are stretched in this and as posture ofthe rib expansion ofthe rib cage and cessfrrl resistance to collapse singing, breath is the fuel for singing' through vac- cage gives us control ofthe breath, when we sing lowering of the diapbragm, a partial The tone we Produce of air into and air mshes into the allowing us to feed the cushion rests on a cushion ofair; thus, the breath uum is created October 2004 PtPr 6 THt PIrcH F o r t rro
the tone in a steady stream (like the con- tense up and produce a strangled tone. It is important to note that the resist- trol provided by the adjustable nozzle ofa With support from the abdominal mus- ance muscles we use in singing (the garden hose). Breath control provides cles and resistance to collapse from the intercostals, epigastrium, etc.) are not constant support and a sense ofprojection intercostals, we achieve relaxed control. utilized for the same fi.rnctions in normal of the tone being produced. We achieve An excellent description of this feel- breathing situations, so they are weak. that by successfirlly resisting collapse of ing can be found in a book entitled As Chrisry says, "Breathing for living the rib cage as we sing the phrase. Foun)atbnt of Sigittg by Van A. Chrisqr: and breathing for singing are quite dif- At the same time as we are using the "Costal singing control characteristics ferent processes. The singer must learn intercostals to keep the rib cage high and are a lifting and widening of the lower to inhale quicker and exhale (phonate) wide, we use the abdominal muscles for ribs and back, an expansive feeling just slower than in a reflex, life-breathing sit- support. The abdominals need to be fT uation." Thus, singers need to strengthen relaxed during inhalation, so the Breathcontrol provides and develop these muscles to make them diaphragm can be lowered completely, I more capable of functioning for singing. without resistance from below. As we .f constantsupport and a The exercises included with this article sing, the diaphragm gradually lifts, push- r"nr" of proiectionof will help you do that and improve your ing air up and out ofthe lungs as the ) tone qualigz in the processl tone is produced. Because the rib cage is tone beingproduced To recap, then, breath is the fuel for kept high and wide, the diaphragm will frme singing. When we "tank up" to sing a lift gradually and we have better control phrase, the abdominal muscles should ofthe breath. above the waistline, and a continuation relax and the intercostals should expand, The nonviolent resistance that keeps ofthe sensation in this region to the very so that we can take in a full breath. the rib cage frorn collapsing also keeps end ofthe phrase." The author later Then, as we exhale, our intercostal mus- the breath from rushing out too fast. It adds, "Actually, if the chest is first raised cles should be used to resist collapse of can be compared to isometricexercises, before inhalation, remains high and the rib cage, without tenseness, while our in that we have external and internal quiet, and the costal muscles 'hold'and abdominals suppoft the diaphragm as it intercostal muscles, creating a push-pull function expansively, we can stop worry- gradually rises to create a steady, con- situation. We strive for balance, so we ing about specific action of muscles trolled stream of air uoon which our don't collapse and push air out too fast or involved in control of singing." beautiful tone floats. #, ,t)'
As youdo theseexercises, tension,constriction and tightness in you beginto speakeach number. Exercise#5 rememberthai the feelingfor the shouldersand chest. Your{ull breath should be usedup To remindyoursel{ of the whichwe striveis nonviolent whenyou finish speaking the number propermuscular feeling when support.Keep the chest(rib Exercise#2 six, Now take anotherfull breathand keepingthe ribcage high and wide (nonviolentsupport), first place cage)high and wide, with no Holdingthe chesthigh and wide, beginagain. inhalethrough the noseas you yourright hand just belowyour tensron. expandthe ribcage and lungs to Exercise#4 breastbone,so you feel the invertedV of yourrib cage. Make a capacity.Hold the breathfor 10 to This is an exerciseto strengthen fist with your left hand,place it Exercise#1 '15 seconds,keeping the shoulders the abdominalmuscles. Holding the againstyour mouth and blow gently Thisis an exercisefor intercostal andneck area relaxed. Remember chesthigh and wide, inhale through strengthand endurancethat was also on the fist, not allowingany air to that it is nonviolentresistance that the noseas you expandthe rib cage escape.Feel the epigastrialmus- describedin theJuly issue: Holding holdsthe chesthigh. Repeat a few and lungsto capacity.Now singthe cles pop outwardwith your right high wide,inhale thechest and timeseach day, gradually increasing followingexercise, thinking about the hand.Keep that feeling of firmness throughthe noseas you expand the the amountof timeyou holdthe breaih supportand controlprovided by the in the epigastriumas yousing the rib cageand lungsto capacity,but untilyou can holdit for a full minute diaphragmas it slowlyrises, while the following,making all of the notes withoutcreating any tension in the withoutiension. You can do ihis exer- cheststays high, wide and quiet. staccato: chest or shoulderarea. Now exhale, cisewhile driving, working, etc Beginon a comfortablenote in your usinga hissingsound like airescaping rangeand sing up andthen down the hi hi hi hi hi from a tire, as you count from slowly Exercise#3 scale,making each noie staccatoand 54 3 2 1 oneto eight.Resist the inclinationto Holdingthe chesthigh and wide, usingthe followingsounds and notes rib allowthe cageto collapsewhile inhalethrough the noseas you (1=do,2=re, 3=mi, etc.): Now moveup the scaleone- exhaling;use the intercostalmuscles expandthe rib cageand lungsto hall step from your startingnote to keepthe ribcage high and wide. capacity.To let the breathout, count hip hip hip hip and repeatthe exercise. Performthis exercisedaily, grad- aloudextremely slowly from one to 1234 Rememberto keepthe epigastrium uallyincreasing your exhalationtime six,with much openness and reso- hah hah hah hah firmand the chesthigh and wide, to l6 counts.Note that the dangerin nancein the voice,constantly feeding 5555 Youshould be ableto feel the area this exerciseis tension and overexer- the tone a greatdeal of warmair. To hah hah hah hah hah belowthe epigastriummoving in tion. lt is easyto becometense about andout. keepthe chesthigh and wide, ihink 54321 # notallowing the ribcage to collapse. of expandingthe ribcage again as ,tf Remainconscious of keepingfree of
October2004 Tur PrrcH Prpr Thisseries was previouslypublished in The Pitch Pipe duringthe mid-9Os.The series was so popularduring its first run we havedecided to updateit and bringit back for an encore.
By Betty Clipman, pa"tt international predi- . Bearing down (as in childbirth or across the vocal folds. The process is ?ent, intenmtiztnal ttoafi of ]irectorJ, mtuter elimination) or lifting heary objects, fourfold: ?irectot; li/eturu acbizvenunt winner; ju?ge in which the vocal folds close in r Inhalation, or breathing in; dpecinlLtd m.o7erato4 certifie? nun) an? order to build thoracic pressure and . Suspension,a brief interlude after arpretd b n ju)ge, cert fid /aculty, Ho u't to n provide strength; and inhalation; Horbon Choru"t, Region I0 . Producing sound, in which the vocal . Exhalation, or breathing out; and Phonation is the act of producing folds close with varying levels of o Recove{/. vocal sound in either speech or singing. tension to produce the different Phonation occurs in step three, It involves the vocal folds (also called pitches on which we sing or speak. exhalation, and the start ofthe sound vocal cords), as well as the breathing The first two of these actions close is called the "attack." In singing, the mechanisms we have already discussed. the vocal folds tightly, creating a high most important word of a phrase is the In addition to playing a part in the Ievel of tension in the vocal apparatus. first word, which requires a proPer creation ofsounds, the vocal folds help The production of sound, on the other attack. protect the trachea (windpipe) and hand, closes the vocal folds more Phonation must begin with the respiratory system from foreign matter. loosely. When the vocal folds are attack occurring deep in the breathing They approximate, or close, when the closed properly for singing, there is a apparatus, not in the throat. When brain signals them to do so. great degree of freedom and relaxation phonation begins in the throat it is Three actions cause the vocal folds in the vocal apparatus. called a glottal attack, because the to close: It is nerve impulses originating in sound is created by the shock ofthe . Swallowing, in which the vocal folds the abdominal area that help the vocal glotris closing. (The glottis is the elon- close so that swallowed matter is folds to close properly for singing or gated space between the cord-like directed through the esophagus into speech. Thus, the sound must come edges ofthe vocal folds; the term is the stomach, and not through the from the abdominal area as the abdom- sometimes used to describe the struc- trachea to the lungs. inal muscles lift the air up and out tures that surround the space as well.)
10 THr PrrcH Ptpr January2005 FeatLr res
In order to attack properly in As with any other technique for singing, we must leave the vocal folds When the vocalfolds are good singing, we musl practice using and pharynx open and relaxed dur- closed properlyfor singing, the proper mechanisms for phonation to understand ing inhalation, suspension, and the there is a greatdegree of and attacks in order beginning of exhalation, in one con- how they feel when they work cor- freedomand relaxationin tinuous process. We use the abdomi- rectly. With sufficient practice, the nal and breathing muscles, rather the vocalapparatus. seemingly complex techniques become than glottal attack, to begin the second nature, although they always" requireFocus and t".i *o.t .. .fJ
Remember toltan? in corect Exercise5 silently, allowing the air in the lungs ainging poature an? to breatbe prop- We produce a breathy tone if we to be expelled through the Iips which erly. Keep in min? tbat yott want to allow an audible breath sound to are slightly rounded (but not tight). acbicue tlae correct mztho) of phonation, come first, before placing a tone on The lower abdominal muscles pk"inS tlae aoun) on tlae colutrut of air it. This exercise strengthens the become taut, then are released tbat hat alrea?y begun ?eep in tbe ' abdominal muscles in addition to pro- quickly, and the air is allowed to clteat an? ab)omen. viding practice in phonafion. come into the lungs. This should be Exercise1 Holding the chest high and wide, repeated two or three times. Think aboutblowing out birthday inhale through the nose. Sing the fol- "One hand should be placed candles. Begin to blow and then turn lowing exercise, using the "h" at the just below the sternum and the the breath into an "ooo" sound on a beginning of each word to give sound other hand just above the pubic comfortable pitch. Feel the tone to your exhalation before forming a bone. The hands are placed in begin in the breathing muscles. tone. Begin on a comfortable note these positions to emphasize the Repeat. and move up and down the scale, full extent of the involvement of Exercise2 making each note staccato and using the entire abdominal area. Then, Hiss a familiar song,such as these sounds and notes (]=d6, !=re, with a whispered 'hoo,' the Happy BirtbSay, using no words or 3=mi, etc.): abdomen should be pulled up tones, just hissing. quickly, still allowing the air to be Exercise 3 hip hip hip hip expelled through the gently parted 1 234 lips. At the end of the breath sup- This exercise is from the video hah hah hah hah 'k'should be package "Tlae Joy of Singing: lVarnzupl 5 555 ply, a sharp voiceless (but not felt in the /or Healthy Singing," featuring exer- hah hah hah hah hah sounded cises by International Faculqr 5 4321 throat), which should cause a slight Specialist Britt-Hel6ne Bonnedahl. It clutching of the muscles of the is available through the international Exercise6 Iower abdorninal area iust above sales department. This exerciseis from the book the pubic bone. Keeping the torso Take a deep breath. After begin- and audio tape package Hov To Train high, release the abdomen and Iet ning exhalation, and using no singing Singer,t,2nd Edition, by Larra the air fall into the body causing tone, place the following unbroken Browning Henderson (1991, Parker the abdominal area to pop out. The series ofsounds on the breath: Publishing Company, a division of diaphragm drops and the outside ss s s s ss s s ss s s s s ffffffffffffc h Simon & Shuster), and is reprinted air pressure fills the lungs. The Exercise4 by permission. The purpose of the hook exercise is completed three Any sound that starts with "h" exercise is to "help get the breath times with a rest between each set helps the singer begin exhalation moving, strengthen the chest and of three. before phonation. Start with two lower abdominal muscles, and coor- "It is also advantageous at fimes short blows, then sing two short dinate the muscles of the abdominal to sustain the 'hoo,' and you s-ill t'eel "ha"s on a comfortable pitch. Repeat. area and thorax. the entire torso, the flanks, and the Now repeat again, singing one step "First pull the lower abdominal lower abdominal muscles all beine hieher. Continue in this manner. muscles up rather quickly and involved." .fJ
January2005 Tur Prrcu Ptrt Thisseries'was previously published in The Pitch Pipeduring the mid-90s.The series was so popularduring its first run we havedecided to updateit and bringit backfor an encore.
By Betty Clipman, patt internntbnal prui- elements: a motor or open and relaxed 7ent, international boar7 of ?bectort, ma,tter activator @reath while we sing. The 1bector,juAge dpecialbtt moAerator, certific? pressure); a primaqy result is what we ju2ge,2006 IES cbair, Houdton Horizon vibrator (the vocal often hear referred Chorut, Region I0 folds and larynx) to as an "ope+ freely Resonance is the amplification and that is set into produced tone." enrichment oftones produced by the motion by breath To help achieve 'When voice. we tallc about resonance, pressure; articulators openness withoutten- we're talking about singing with fullness. (the tongue, Iips and sion, it is helpfirl for Sound judges often use the terms "rich," jaw, whichwewill the singer to invoke "firll," "round," and "resonant," indicating discuss in the next mental images. that the tones produced by the contestant article); and res- One image, had (or did not have) body and fi:llness. onators (the pharyn- known to many Without resonance we produce a geal, mouth and around the world, is "thin" sound. As a matter of fact when head cavities). the voice of the late, our tone lacks resonance we sound like "Pharyngeal" means "of the phar;mx," great che[, Jt'lia Child. Another, from litde girls rather than women. which is the areabetween the moutl and the recent international movie, Moulin The tone we produce should ideally the esophagus. Rouge, is the Doctor Jelqyll and Mr. be like a diamond on a black velvet pil- There are differing opinions on the Hyde of vocal reson€rnce, Nicole Kidman' low: with the brilliance, sparkle and pro- subject ofthe resonators. Some authori- In her movie persona as Satine, a jection of a diamond and the warmtfi, ties say that resonance is created to a beautifirl-voiced burlesque queen, Nicole richness, body and texture ofblack vel- degree in the trachea and chest, but most Kidman speaks with a soft, almost intox- vet. The velvet effect comes through agree that the phaqyngeal mouth and icatingly whiny voice. But she has a singing voice. ProPer resonance. head cavities are the most important beautifi:lly resonant Sounds good, you say, but how do areas ofresonation. Many of us srng in our speaking we produce resonance? What causes the The amount of resonance in the voice voices, without opening up the resonat- tone to resonate? is determined by our ability to keep the ing cavities or relaxing the jaw and The voice has four maior acoustic phar;mgeal mouth and head cavities throat. Our aim should be to open and
10 THr PrrcH Prpe April 2005 relax eveq,thing, using whatever images noticed by others. You might feel a help us do that. Think about singing slight lifting of the cushions under the "opera vowels," if it helps. eyes and a space opening up over the There is one danger ofconcentration soft palate - you almost feel as though on opera vowels, and that is the dark you are going to break into ayawn. The "covering" of the tone that sometimes soft palate goes up. Qfou have not results. It is what happens when we pro- pulled it up.) Both are extremely impor- duce black velvet without the diamond. tant - the cushions under the eyes and We must remember to project the tone the soft palate." (F)itor7 Note: How to forward into the facial mask. Train Singers it cunently out of prutt,) l,arra Browning Henderson, in her ffi The inside smile naturally opens the book Hop to Train Sutgerd, 2nd Edition entrances into the head cavities, and (@1991, Parker Publishing C,omparry, a raises and opens the cavities themselves, division of Sirnon & Schuster), says that creating larger chambers in which to res- part ofachieving resonance is a natural onate the tone. An important part of res- lifting of the soft palate, often referred to onance is this natural lifting of the soft as using the "inside smile." She (pp. says palate. Conscious lifting of the soft palate 55-56), "Close the mouth, but not the car create tension in the larJ,.nx and teeth (feeling an openness in the whole throat muscles, so the goal is to lift the oral cavit;z), and smile as though you face naturally, as if thinking, "ah-hal" were srniling at someone across the Rather than consciously using specific room, a smile ffi you do not wish to be Continrc? on page 27
When we vocalize put we've often Exercise2 tongue should be touching the lower in a full workday and are carryingiots MaI
April 2005 THr PrrcH Prpr JVrgsJis iJartt)erty
TbeA Cappelk We are excited in Thunder Bay, Sounds of Angebperform iz Ontario, to have the first Sweet Superior Duhtb, llt[innatota, Adelines International Young W'omen Chorus mern- a.tpart o/ tbe2004 in Harmony Chorus in Region 6 - the bers have Regun6 Competitirtn, A Cappella Angels started in the fall of helped with directing, choreography, 2003. music and encouragement. have an opportuniSz to watch the Sweet Through the efforts ofthe Sounds of Many exciting things have taken Adelines chorus competition. In Superior Sweet Adelines Chorus in place. Performance opportunities have December 20M they were invited to per- Thunder Bay, the Young'Women in been rnade available to the A Cappella form with Tom Jackson, a Canadian tel- Harmony Program was introduced to Angels in conjunction with the Sounds evision celebriqr, in Thunder Bay to do a the communrt;r, and as a result audi- of Superior Chorus and the Men's benefit concert for the Food Bank. Judy tions were held and the Young'Women Barbershop Chorus at several events as Olson, certifice international faculty and in Harmony Chorus, under the direc- well as on their own. The A Cappella diector of Twin Cities Show Chorus, is tion of Diane Crocker (a former direc- Angels and a quartet, Feature coming to coach them in February. tor of the Sounds of Superior Chorus), Presentation, participated in the The A Cappella Angels continue to was born. The mernbers at the time, Lakehead Music Festival achieving grow. Starting with nine members in after much deliberation, chose the name marks of 90 and 9l out of 100, winning 2003 they now number 50. They are A Cappella Angels. Our goals were to scholarships. They were invited to per- looking forward to many more exciting introduce the girls to the art of perform- form at the 2004 Region 6 Competition singing events in the future. ing a cappella, four-part harmony in Duluth, Minnesota and received a Sutmitte7 by Carol t4orgary Young arranged in the barbershop sqrle and to standing ovation. There wasn't a dry Womzn in Harmony coor7inator, Soun?d of have a lot of fun learning and singing. eye in the house. They were thrilled to Superior Cbonu, Region 6
Vocal continue).frcnzpage I I when one is expressing surprise with a the inside smile really help that happen. muscles to get the lift and open the slight gasp, and the cushions under the One other important technique in spaces, it is better to use imagery. eyes lift." producing a full, open, resonant sound Henderson also says (pg. 5D, "When We are after a natural way of open- is to keep the jaw relaxed and slightly you use the inside smile, there is a feeling ing up the resonators without producing dropped at the same tirne as the face is 'dome' of in the oral caviqr; there is also a tension. A related sensation in the lifted to open the resonating cavities. yawning up'sensation (never a yawning mouth will be space. Think of the roof Our focus in the exercises presented down'position, i.e., pressure on the back of the mouth feeling like an open para- here is to provide techniques to help of the throat and larynx). The same sen- chute or arched cathedral ceiling. develop a relaxed iaw and a rich, '- o0 sation comes into the soft palate area Lifting the facial muscles and achieving round, open sound. #f Coilegecontizue) Qrcen) -fronzpage I1 set aside in the budget of The C,oronet soyour attendance is essential. Incorne and love of quartetting that inspires us CIub as well as registration fees. from reg'istration fees is important, too. to continue the schools. The interest is Wouldyou like to attend Queens' Only one of the20M schools was a sell- there . . . just re-read the comments of College in the future? No schools are out, and expenses remain the same some of lastyear's attendees. But, as in planned at this tirne, butyou can help whether 100 or 250 singers attend. any endeavor, it takes time and money. make this possible by attending The So, here's your invitation to attend An Many volunteer hours go into the plan- Coronet Club show presented Friday Evening with The Champions in New ning and implementation of this ambi- evening at each International Orleans during Sweet Adelines tious program by members of The Convention and by encouraging others International's 60th Anniversary Coronet CIub. Queens' College is not a to register when future Queens' Cnlleges Convention. Enjoy your quartet champi- mone;,nnaking event. Funding of the are announced. The annual show is The ons in action. Then look ahead to the next schools is from a combination of monies Coronet Club's only source of income, and register earlyt Queens'College ffi)tr
April2005 THr PrrcH PrpE Thisseries was previously published in ThePitch Pipe during the mid-90s.The series was so popular during its filst runwe haye decidedto updateit andbring it backfor an encore. This is thelast ailiclein theseties.
By Betty Clipman,Houston Horizon its emotions, we must rememberthe nothing to sustainthe momenfumof the Chorus,Region l0 principlesofresonance: keeping an open, soundand the messageof the songwhen a relaxed throat and a rich tone. major break occurs.In fac! when a cap- Articulation is the phaseof diction Often, when we havebecome suffi- pella singersoverarticulate, the consonants dealingprincipally with the action of the ciently familiar with the notesof a song stop the tone flow completelyand there speechorgans in forming consonants. and begin to think more about the words, are'khite spaces." As singers,we may haveheard the we concentateon articulationand our Many SweetAdelines have encoul- idea expressedthat consonantsare the delivery becomeschoppy rather than teredthe phrase'kall of sound" usedby "bones" ofspeech and vowels are the smoothand connected.Instead of forming contestjudges.In our realm ofmusic it is "flesh," and also that "consonantsare the consonantsthat just barely intemrpt the synonymouswith the aggregatetone flow intellectualandugly elementswhile vow- tone, we overemphasizethem. In order to producedby a quartetor chorus. When els are the beautifirl and emotionalele- avoid this choppy delivery, we must keep we overarticulate,we becometense, our ments" (from Foundationsof Singingby the rich, round, resonantsound we dis- singng mechanismsbecome tight, we VanA. Christy,William C. Brown cussedlast time CompanyPublishers, Dubuque, Iowa, (April2005 1979).The American Academy of issue).This is . .wemust remember the Teachersof Singing adds,"The function of especiallytue for a consonantis to intemrpt the vowel with- a cappella principlesof resonance.keepins out doing violence to the tone." singers. Theseare good images.But beauti- In accompa- an0pen, relaxed throat and a richtone." fi.rl articulation is more tlan organs, nied vocal music bones and intemrptions. It is the act of there needsto be greateremphasis on con- overemphasizeconsonants and createa creating words that communicatethe sonantsso that words are understandable "picket fence" rather than a wall of sound- messageof the song.In orderto form to the audienceover the instument back- Rememberingthat the tone restson a words that will be understood,and at the ground.But becausea cappellasingers cushionofair and on vowel sounds,we sametime communicatea messaqeand perform without accompanimentthere is must keep the tone flow openand relaxed"
July 201t5 using as little jaw action as possiblein consonants.These singable consonants pella singeris to achievebeautifirl articula- articulation. also affect pitch; the vowel that follows tion while creatingas little intemrption of Relaxationis a fremendouslyimpor- will alwaysbe flat if the preceding the tone flow as possible. tant factor. In addition to a loose.relaxed singableconsonant is under pitch. This seriesofarticles hastouched jaw, we must attemptto disconnectthe jaw Christy summarizesseveral rules of on the five physical actionsnecessary from the tongueand lips. The entire mouth articulation: for good vocal production but we cer- shouldbe loose and relaxed so as to avoid . Consonantsmust be thought on the tainly have not discussedeverything overarticulation.As Van Christy says,"Let samepitch as the vowel they precede, you need to know to becomea great the jaw relax so loosely that there is a feel- to preventthe tonal attackfrom being singer.The quality ofour voicesis ing the singing is donewithout thejaw." scoopedor flat. directly affectedby the quality ofour One of the best ways to understand . Consonantsshould be articulateddis- vocal production. I encourageevery how to achievean open,relaxedjaw and tinctly, freely and flexibly, rapidly, and SweetAdeline to seekcontinued vocal throat during articulationis to sing an as natwally and entire songon one openvowel sound, plainly as in dra- ratherthan voicing the words. "Oh" is a matic speech. "Ihef unction ofa consonant wonderful vowel sorurdto use,while . Articulate the thinking ofthe operatic,cultured produc- proper soundof is to interruptthe vowol without tion of that vowel and the concep of eachconsonant; singng'llrough" the vowel. do not substitute doingviolence tothe tone " After practicing in this manner,firy to one for another. keep the sameopen, relaxed feeling as . Make vowels long, consonantsshort. instruction and to take advantage,with you add the words of the song,thinking Do not shortenthe completerhythmic enthusiasm,of the private vocal instruc- "oh," but singmg the words through the lengthof the vowel by anticipatingthe , tions (PVIs) being offered throughmany open "oh" feeling. Ideally, the vocal line ending consonant. , individualchoruses and regions. will be an almost continuoustone, as it Overaiticulationis morecommon in I wish everyoneluck and continued was when you sangthe vowel soundonly. singing than in speaking,because the vocal improvement.Singing well is much This exercisewill help to producethe wall mouth needsto be so much more open in more fun than singing poorly. Each of us of soundto which we aspire. singlng.The tongueand lips must move can experiencegrowth as a singerand As you practiceproper articulation, farther and we must work harderto move should alwaysbe making an effort to it will be helpful to know a little more themgreater distances. This is evenmore improve our vocal skills. As I often say to aboutthe specific soundsassociated with difficult in the high ranges;thus our myself,"Be patient;God isn't through consonants.For instance,most conso- tenorshave a harderjob of articulating with me yet!" nantscannot be producedon a pitch (you without tensing or tightening the vocal We are limited as singersonly by cannotsing a sustained"B" sound)but mechanisms. how good we think we canbe. there are a few that can, suchas M, N, L Words tell the story of a song;they Approach singing with enthusiasmand and V. Theseare called voiced or make it fun and exciting and allow us to joy. Eachtime you sing,try to improve singableconsonants. It is importantin understand.So articulationis particularly and experiencecontinued growth as a
articulationto sing through the voiced important.The primary goal for the a cap- sineer.* #, -+? Theexercises below will help you uisualizeand ptactice proper articulation. Exercisesfor Achieving Exercise3 ProperArticulation Inorder to help keep a relaxed,conslant tone flow, review and practice the fiveexercises forresonance thatwere presented inthe April 2005 issue. Exercise1 Looseningthetongue and jaw will assist in a resonanttone flow as well as Asa warmup, practice any tongue twisters you know: thedelicate production ofconsonants required ina cappella singing. PeterPiper, for instance. Exercise4 Exercise2 Practicethe exercise described previously inthis article singing an entire Trillthe tongue. (lmitate a motorcycle rewing up.) famrliarsong 0n an open "oh" vowel sound. Try to keepthe open, relaxed feelingwhen you add the words.
July 2l)lF f