Duane Cottrell, editor

Developing Sections through Extended Techniques and Auxiliary Registers by Everett Wade

Editor’s note: The following article will works of past centuries. In just the this discrepancy. Frederick Swan- be greatly enhanced by hearing the corre- last few decades, composers have son, former director of the Moline sponding performance examples, referenced written choral works with unusually Boys , made the following ob- throughout the text and listed in the sidebar low bass parts.3 Despite this recent servation: on page 63. Those viewing the electronic attention, remarkably few authors version of this issue (available at www. have written about how the lowest Next to Warsaw, Chicago acda.org/choraljournal) can click on the registers of the male voice might has the largest concentration link and be taken directly to the URL. be cultivated so as to access such of Poles in the world. There tones. Most choir directors would are communities where Yu- American have recently conclude that unless they are so for- goslavian, Czechoslovakian, shown an interest in the depths of tunate as to happen upon the deep- and Russian immigrants set- the bass voice. In the past few years, est of basses, such works are best tled, and these communities two Grammy Awards for Best Cho- left alone. It is my contention that still claim many descendants ral Performance have been con- such challenging repertoire would of those Slavic pioneers. We ferred upon American recordings of be in reach for many ensembles if do not fi nd men from these Russian works that include some of the choral community were ready to communities displaying these the lowest notes in vocal literature. encourage bass voices and explore deep contrabass voices.4 The 2016 recipient was the Phoenix the use of extended techniques and Chorale and the Kansas City Cho- auxiliary registers. Swanson’s insight suggests that rale’s recording of Rachmaninov’s cultural attitudes and not genetics All-Night Vigil, which requires the are to blame for the rarity of strong basses to descend to B!1.1 Conspi- Encouraging Bass Voices basses in Western choirs. Swanson rare’s recording of sacred Russian The fi rst step in strengthening found ample evidence to confi rm music, which received the award in the bass sections of American choirs this suggestion: basses were often 2015, features Chesnokov’s sacred is simply to value and encour- discouraged from developing the concerto for octavist soloist, which age singers with low voices. While low tones of their voices, especially drops even lower than Rachmanin- strong basses seem more common during adolescence. Western vocal ov’s work—to G1.2 Such low bass, in Eastern Europe, there is no data pedagogy tends to focus on extend- however, is not confi ned to Russian to suggest that genetics account for ing the range upward. Swanson also

CHORAL JOURNAL September 2019 Volume 60 Number 2 55 noted that generally composers “do musical and could not sing.6 Fryers and Other Rejects,” Swanson not write solos exploiting the deep- In contrast, the religious cho- describes the process of discovering est tones of the ,” likely ral literature of Eastern Europe many adolescent basses capable of “because singers would not choose inspires a tradition of developing producing tones in the contra oc- to sing them if such songs were writ- and encouraging low basses, as the tave. ten; nor would the public be likely Orthodox Church does not permit In summary, the fi rst step in to applaud them with the same en- the organ in worship. As one Yugo- strengthening the bass sections of thusiasm as if they were producing slavian bass explained to Swanson, American choirs would be to trans- tones of high pitch and intensity.”5 “In the Eastern Orthodox Church form our attitudes about unusually It is, then, no wonder that teachers we do not have instruments, neither low voices. Once the demand and and vocal coaches focus heavily on organ nor orchestra to accompany appreciation for such singers in- developing the higher tones of the our choirs. If we want the rich deep creases, it is likely we will see an up- voice, and applaud those who excel tones of the bass viols or 16’ organ take in the supply. It would seem that in this. Swanson further observed pipes, we have to use our singers. So the recent interest in Russian reper- that because basses had more diffi - we look for men who can produce toire indicates this appreciation for culty singing higher, they often be- them, and we develop and train low choral basses is already on the came convinced that they were un- them.”7 In his article “Growlers, rise. Indeed, many online discussion groups and YouTube channels indi- cate the increasing popularity of low basses in choral music. For example, “Our tour was wonderful — well-managed and a YouTube video titled “The Power well-balanced. There are a million details to of the Russian Oktavist,” which fea- arrange with a trip like ours, and Witte attended to them with professionalism and punctuality! tures a compilation of astoundingly If I take a choir to Europe again, I will defi nitely low choral basses, has garnered over use Witte Travel & Tours!” one million views.8 While it might Ryan Smit Director of Choral Activities, Dordt University seem that low choral basses are a niche interest, these sorts of online trends indicate that the general pub- lic has an appreciation for such voic- es.

Auxiliary Registers and Extended Techniques When a choir lacks enough strong basses to perform a demanding A Leader work convincingly, it may be helpful In Concert Tours to explore extended techniques and GO BEYOND. GO WITTE. SINCE alternate registers. Unfortunately, 1975! Western literature of vocal pedago- gy has not devoted much energy to exploring the lower regions of the 800 GO WITTE human voice. To complicate mat- www.wittept.com ters further, the terminology used to describe lower vocal registers is of-

56 CHORAL JOURNAL September 2019 Volume 60 Number 2 ten fraught with confl ation and con- Vocal Fry absent, it lacks the resonance of fusion. Only recently have voice sci- The fi rst of these registers is vocal . ence and vocal pedagogy provided a fry, an auxiliary register at the ex- Vocal fry is a useful choral tool clearer understanding of the various treme lower end of the voice.9 The if used judiciously.11 As James Stark vocal phenomena only vaguely de- singer relaxes his vocal folds until has noted, it “is often heard in Rus- scribed in the literature of the past they fl ap loosely, producing a rat- sian choral music.”12 Though most century. While many pedagogical tling, creaky sound. Vocal scientists texts describe fry as a powerless, texts have dismissed such registers as have observed that this register is creaking register, if it is tuned well unusable or dangerous, these recent often characterized by a long closed and supplemented by other voices, discoveries encourage a reassess- phase and a low glottal airfl ow.10 In it can be quite eff ective in produc- ment of such views. In correspond- other words, the vocal folds are so ing low notes. Because of its low ing with choral directors and choris- relaxed that they vibrate irregularly, volume, however, vocal fry is gen- ters around the world, I have found in pulses. Because the airfl ow is low, erally only useful when the choir is several techniques and registers that vocal fry generally has less volume singing softly, for example, the fi nal may prove useful in expanding the than the chest register. The register descent to B!1 in the fi fth movement lower range of a choir. produces a low fundamental, but of Rachmaninoff ’s All-Night Vigil. because the upper harmonics are Indeed, many Russian recordings of

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CHORAL JOURNAL September 2019 Volume 60 Number 2 57 Rachmaninov’s masterpiece feature tavists Yuri Wichniakov and Vladi- little value in the strohbass register one or two octavists capable of de- mir Miller (see Performance Link 1). for solo singing, Miller’s technique scending to the lowest notes without While these two basses are likely of depressing the larynx is useful for strain. A good example is a perfor- the only two in the choir capable of those who can authoritatively per- mance of the Vigil by the Choir of using chest voice to produce the B!1 form a work with the exception of a the Academy of Choral Art with oc- required in the fi nal descent (found few notes on the lower edge of their after 18 minutes 50 second mark in range. Miller confesses that though the clip), the discerning listener will he has “repeatedly campaigned notice that the weaker basses do not against holding the larynx in a de- cease singing, but rather shift into an pressed position,” an occasional use auxiliary register such as vocal fry. of strohbass is not detrimental to the voice and may open up repertoire to the performer that would not Strohbass otherwise be accessible.17 Although Most contemporary works that Miller’s defi nition of strohbass dif- mention strohbass equate it with the fers from that of previous writers, terms “pulse register” and “vocal it provides a useful description of fry.” Indeed, it seems that in West- an extended technique that may be ern vocal literature, “strohbass” has occasionally used to reach low notes often been used as a catch-all term on the edge of a singer’s range. for any register that falls at the low Bass- Christopher Purves end of the male voice. More re- uses such an approach with great fa- cently, however, Richard Miller has cility to reach notes well below C2 in defi ned strohbass in a way that has his performances of baroque music little in common with earlier usage. (see Performance Link 2). Miller is emphatic that strohbass The octavists I have spoken with “should not be confused with vo- have explained that strohbass as de- cal fry, which lacks the fullness of scribed by Miller is preferable to vo- characteristic of Strohba- cal fry in a choral setting, due to its ss.”13 Departing from earlier Ger- fuller sound and greater resonance.18 man usage, he does not categorize Because of these qualities, strohbass strohbass as a discrete register, but is easier to blend with other voices rather as a “pitch-related timbre” than vocal fry. In addition, strohbass produced by a subtle depression of exceeds vocal fry in volume, so that, the larynx.14 In the same vein, by depending on the vocalist’s skill, it highlighting strohbass’s “fullness of may even be used when the choir is timbre” he also diff ers signifi cantly singing mezzo forte. available online at from early German writers, who de- 15 acda.org scribe it as “empty.” Furthermore, his reference to a lowered larynx False-fold Undertones distinguishes his strohbass from the Another way to achieve especial- contrabass register, which was often ly low tones is to use the undertone confl ated with strohbass in previous register produced by the false-folds. EXCLUSIVELY DISTRIBUTED BY 16 This register is most commonly HAL‡/EONARD pedagogical texts. Unlike early authors who saw used in the Tuvan throat singing

58 CHORAL JOURNAL September 2019 Volume 60 Number 2 of Eastern Asia where it is called matic, as Sicot and Casalonga cre- ister during an apprenticeship with “kargyraa.”19 This register has a ate organ-like pedal tones that stay Sardinian singers, Casalonga con- rough, throaty sound that is often below low C2 for long stretches (see tinued to practice this technique compared to that of the Australian Performance Link 3). for two decades and “adapted it to didgeridoo. In recent decades, Fuks, After learning to sing in this reg- the classical and traditional reper- et al. and Lindestad, et al. have demonstrated that kargyraa pro- duces an undertone by means of the false folds—thick paired folds lying superior to the true vocal folds and not generally used for phonation.20 By grunting as when clearing the throat, the singer may produce a Summit NEW YORK CITY low growling sound that produces SHOW CHOIR COMPETITION a note an octave below that of the Nationals true vocal folds.21 As used in Tuvan throat singing, false-fold undertones may not be YOU ARE CORDIALLY INVITED: aesthetically pleasing to Western SUMMIT NATIONALS IN 2020! ears, and might clash with other This national show choir competition is presented by CODA Concerts. voices in a choral context. Never- As a sister company to Manhattan Concert Productions, we are pleased to bring show choirs into our 20-year history of acclaimed productions. theless, false-fold phonation may be softened and blended aesthetically with the other voices in a choir per- MEEETT THHEE JUDDGGES Our outstanding panel of judges forming Western repertoire. I have includes educators, producers, corresponded with basses doing just choreographers and a Broadway performer! Peter Mike Susan Lisa this in America, France, Romania, Eklund Weaver Moninger Howard and Russia. Furthermore, when strong low basses are added along- TTHHE VENUE side those using false-fold phona- Just a 10-minute subway ride from Times Square on Broadway, Symphony Space tion, the result can be both powerful hosts 600 professional events annually and aesthetically pleasing. French ZLWKSHUIRUPDQFHVWKDWUDQJHIURPƓOP to Broadway to classical concerts. choral director Marcel Pérès used exactly this approach in Ensem- PRICES ble Organum’s 2012 recording of Competition Summit Participating ensembles have the Only Package the Fevin/Divitis Requiem. This re- ŴH[LELOLW\WRHOHFWFRPSHWLWLRQRQO\ cording featured notes well into the pricing or our Summit Package, which $199.00 $679.00 includes everything listed below. per student per student contra octave from the bass section, Summit Package Includes: composed of Antoine Sicot and Je- 3 Nights at a Manhattan Hotel / Competition at Symphony Space / Broadway Show / Three Dinners / Broadway Workshop / Tickets to 9/11 Museum / Free Package for the Director rome Casalonga. Jerome Casalonga explained to MARCH 7 2020 500 Seventh Avenue, 8th Floor me that Sicot sang the bass part in New York, NY 10018 his chest voice, while he himself SSYYMMPPHHOONNYY SPPAACE Call or Email Us at (212) 239-1238 N E W Y O R K C I T Y or [email protected] used false-fold phonation.22 The re- sult on the Requiem recording is dra-

CHORAL JOURNAL September 2019 Volume 60 Number 2 59 toire.”23 He noted that most throat bre of the register so that it blends ing an ison, a low bass drone note singers use this register to drone with the other voices in the choir often used in Byzantine-style ortho- one note, or cover a relatively small and produces an aesthetically pleas- dox chants. range, but with practice he has been ing sound. Undertones produced by the able to expand this range over an This register has its strengths and false-folds result in lows much octave so that there is overlap with weaknesses. As bass Jerome Casa- louder than those of vocal fry and his chest voice. longa explained to me, most singers strohbass. Stefan Voicu explained The use of false-fold undertones have diffi culty developing a wide to me that false-fold undertones in the choral world is rare, but En- range with false-fold undertones. are “powerful sound, so you cannot semble Organum is not alone in Transition between this register fi nish in an overall piano. You have this. I have also corresponded with and the chest voice can be diffi cult to make the choir sing at least mez- Stefan Voicu, a formidable octavist for some, since there is often a gap zo forte, as round and noble as they and the director of the Sfantul An- between the two registers. Further- can get it.”24 But this disadvantage tim Ivireanul Chorale in Romania. more, the color and the timbre of is also the strength of the register: He notes that false-fold undertones, false-fold undertones often diff er since basses often struggle with vol- along with other extended tech- signifi cantly from the singer’s chest ume in the lower octaves, false-fold niques used to reach low notes, are voice, since it is produced by a dif- undertones can prove invaluable called tehnic in Romanian choirs. ferent set of vocal folds. For sus- when trying to balance out higher Voicu can be heard with the Voces tained low notes, however, this false- voices when louder dynamics are Bizantinae choir singing as low as fold register is a powerful tool in an called for. F1 with false-fold undertones (see ensemble. Stefan Voicu noted that Performance Link 4). he has taught this register to many The listener can hear that both basses in his Romanian Orthodox True-fold Undertones Voicu and Casalonga are able to choirs, because these false-fold un- Another vocal technique espe- smooth suffi ciently the rough tim- dertones are so eff ective in produc- cially useful in a choral setting is the true-fold undertone register. Like the false-fold undertones used in throat singing, this vocal phenome- COMING JULY 10, 2021 non produces an octave undertone, but uses the true vocal folds instead PERFORM GREAT of the false folds. Singers may access CATHEDRAL CLASSICS AT this register by singing a note and GLOUCESTER CATHEDRAL slowly relaxing the throat without WITH SIMON CARRINGTON lowering the larynx until the voice AND RYAN BRANDAU abruptly cracks down an entire oc- tave (see Performance Link 5). While Deheleanu sustains an F2 after the 46-second mark, this note  1-800-300-8841 suddenly drops to F 1. Vocal scien- [email protected] tists Švec, Schutte, and Miller have www.concept-tours.com determined that this phenomenon is the result of uneven detuning of the vocal folds in such a way that causes them to vibrate at an inter- val of a perfect fi fth.25 (Some small

60 CHORAL JOURNAL September 2019 Volume 60 Number 2 organs actually produce their lowest known than vocal fry and the false- hale sound with your low basses you tones in this manner, sounding two fold undertones of throat singing, have to make the rest of the choir to pipes a perfect fi fth apart to produce it has several advantages over these sing round and soft, as soft as they a resultant tone an octave lower.)26 registers. True-fold undertones re- can, so the eff ect is just right.”31 The Thus, when singing bass low C (C2) tain much more of the sound of the ingressive tends to be strongest in using a true-fold subharmonic un- singer’s chest voice. As a result, there the C2 to F1 range. Because this reg- dertone, the vocal folds are actually is less need to cover the low tones of ister sits so low, and the singer must vibrating at C3 and G3, and the lar- this register with other voices. An- switch from exhaling to inhaling, the ynx position remains essentially the other advantage is that the true-fold transition from chest voice is not as same as it would at C3, only slightly undertones have a wider dynamic easily managed as with true-fold un- more relaxed. range than other approaches: vo- dertones. Another diffi culty is that The true-fold undertone regis- cal fry generally lacks volume, and since the register is produced by in- ter is usually strongest in the octave false-fold undertones cannot easily haling, the singer cannot articulate from E2 down to E1. Once singers be sung quietly. Choral basses I have certain consonants. These concerns, have mastered this register, the tran- spoken with generally agree that this however, apply to using the register sition from chest voice is generally is one of the most diffi cult registers in a solo context. Ensembles can still smoother than with false-fold un- to master, but perhaps the most re- profi t from basses employing this dertones. This is not only because warding for its versatility and natu- register. there is more overlap between the ral sound. chest register and these undertones, but also because the timbre of the Attitudes toward register more closely resembles the Ingressive Fry Auxiliary Registers singer’s chest voice (see Performance In addition to these registers, we While researching this subject, Link 6). This demonstration shows may also note “ingressive fry”—an I found that although many choir how the transition between the two unusually low register produced by directors and choristers were eager registers is scarcely detectable when singing on an inhale of breath.30 to discuss their experiences using handled properly. University of Alberta Professor Lau- extended techniques and auxilia- Though its use is still rare, I have rier Fagnan notes that this register ry registers, others were not willing similarly corresponded with basses “has the potential of helping basses to speak on the record. Despite re- in America,27 Norway,28 and Ro- particularly in choir singing to sing cordings and performances of their mania29 who have employed this an octave or more below what they choirs being well-received, some register in a choral context with suc- would normally be able to sing… were concerned that their reputa- cess. For example, bass Thou Yang which could be very helpful for tions would be tarnished by associ- informed me that, although he can Russian music and certain types of ation with methods of singing seen reach the notes required by Rach- repertoire.” Fagnan’s demonstration as having no place in Western vocal maninov’s All-Night Vigil in his chest shows how this register produces a performance. Many pedagogical voice, he found it useful to transition remarkably powerful sound in these texts of past centuries warn against to true-fold undertones for those lower octaves (see Performance Link exploring these lower registers, below E!2 in order to maintain a 8). claiming that to do so would dam- good volume (see Performance Link Although ingressive fry produces age or even destroy the voice.32 This 7). Especially when used in a cho- notes with good volume, it may also tendency is still seen in some more ral context, this register produces a be used to produce softer dynamics. recent texts that perpetuate a gen- sound that is hardly distinguishable Romanian director Stefan Voicu ad- erally negative attitude toward any from chest voice. vises, “You can use inhale on softer register below the chest voice. In- While this register is less well- sounds, so if you have a beautiful in- deed, some writers discourage sing-

CHORAL JOURNAL September 2019 Volume 60 Number 2 61 ers from any exploration of such be applied to artistic singing,” and certainly cause harm, but it appears registers, or ignore them entirely.33 state unequivocally that “a careful, the notion of lower registers as in- Fortunately, the idea that such judicious use of fry as a tool is not herently dangerous is based more lower registers are harmful has not harmful.”34 In his work on vocal on tradition than evidence. been borne out by case studies or fry, Frederick Swanson pointed to scientifi c analysis. In fact, quite the a Czechoslovakian bass who used opposite is true: such studies have vocal fry throughout a twenty-year Conclusion found benefi ts in exploring forms career without any impairment to Given the recent interest in reper- of phonation such as vocal fry, his voice.35 In his many years as a toire that features low bass, these and choral singers have used such voice teacher and director of the extended techniques and auxiliary techniques throughout their career Moline Boys Choir, Swanson was registers represent an exciting world without damage to their voices. able to develop the fry register in his of possibilities for choral directors. In their research, John Nix, Kate basses without any ill eff ect, com- Western pedagogical literature has Emerich, and Ingo Titze found that piling over 150 tapes and accompa- only scratched the surface when it “fry is another means to achieve a nying graphs to chart his students’ comes to the voice’s lowest registers. free, healthy production that can progress.36 Improper technique can Though techniques such as those

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62 CHORAL JOURNAL September 2019 Volume 60 Number 2 outlined here are occasionally im- plemented by vocal ensembles, there PERFORMANCE LINKS is a general paucity of work describ- ing in concrete terms how these registers may be accessed and de- Performance Link 1 veloped for use in a choral context. This performance features famous Russian octavists Yuri Wichniakov and Hopefully, this essay will encourage Vladimir Miller: https://www.youtube.com/watch?v=d-cG0N94LPw teachers and choral directors to ex- amine how these methods may be Performance Link 2 better taught and implemented in Purves can be heard down to B!1 at the end of this performance of choral singing. Handel: “Christopher Purves - Why do the Nations so Furiously Rage Together” The Oktavism Channel. December 9, 2014, Everett Wade is an assistant https://www.youtube.com/watch?v=-Sk-ehYFayY professor of English at Belhaven University and the webmaster of oktavism.com, a website devoted to Performance Link 3 the octavist voice. See the following track after 3:30 for an example: https://www.youtube.com/watch?v=9mED0NYy1gI

Performance Link 4 NOTES Voicu can be heard with the Voces Bizantinae choir singing an F1 with false-fold undertones in the fi nal moments of the performance: https:// 1 Sergei Rachmaninov, Rachmaninoff : All- www.youtube.com/watch?v=VNBlEx3YfI4&feature=youtu.be&t=5m09s Night Vigil, Phoenix Chorale and the Kansas City Chorale directed Performance Link 5 by Charles Bruffy, Chandos This abrupt drop can be heard in the following religious chant by B00RPNPAU0, 2015, CD. the Romanian Orthodox basso profondo Cristian Deheleanu: 2 The Sacred Spirit of Russia, Conspirare https://www.youtube.com/watch?v=DB4F5Z78lQI directed by Craig Hella Johnson, Harmonia Mundi, B00GS601CM, 2014, CD. Performance Link 6 ! ! 3 Composers such as Einojuhani Bass Thou Yang demonstrates a descent from A 2 to A 1, tran- ! Rautavaara, Paul Mealor, and sitioning from chest voice after D 2: https://www.youtube.com/ Eric Whitacre come to mind. watch?v=2ACP0NmeE3Y Whitacre’s Lux Aurumque features  C 2, while Rautavaara’s Vigilia Performance Link 7 ! requires B 1. Such notes are He can be heard using this register at the end of this rehearsal of common in much of Mealor’s Rachmaninov’s “Praise the Lord O My Soul,” the second movement work, with his De Profundis of the Vigil: https://www.youtube.com/watch?v=m72_CYjLyAA descending to E1. 4 Frederick Swanson, “The Vanishing Performance Link 8 Basso Profundo and Fry Tones” University of Alberta. “Prof. Laurier Fagnan.” Youtube video, 2:33. Choral Journal 17 no. 5 (1977), 5. Posted June 2010. https://youtu.be/O4rqwLJOR5g 5 Ibid. 6 Frederick Swanson, “Growlers, Fryers

CHORAL JOURNAL September 2019 Volume 60 Number 2 63 and Other Rejects,” Choral Journal contrabass register, “In order to McFarland & Company, 2009), 23, no. 3 (1982). form this range, it is necessary to 115-116. 27 7 Ibid. raise the larynx.” Excerpts from A Thou Yang, e-mail message to author, 8 “The Power of the Russian Complete Treatise on the Art of Singing, January 9, 2018. 28 Oktavist,” The Oktavism trans. and ed. Donald V. Paschke Martin Koren, e-mail message to Channel, September 30, 2013, (1841. Reprint Meinz, Germany: author, July 24, 2017. 29 https://www.youtube.com/ B. Schott’s Sons, 1970), xxxiii. Stefan Voicu, e-mail message to watch?v=o8qu4OOQ_Dc. 17 Miller, Securing, 141. author, February 5, 2017. 30 9 James Stark, Bel Canto: A History of 18 Kelly Cossey, e-mail message to Manuel Garcia also discussed singing Vocal Pedagogy (Toronto: University author, July 26, 2017. Cossey has on the ingress of air, but suggested of Toronto Press, 1999), 89. sung under Russian conductor it be used to reach higher notes 10 Patricia Keating, Marc Garellek, Vladimir Gorbik. rather than lower ones. See Stark, and Jody Kreiman, “Acoustic 19 Thomas Kopfermann, ed., Das Bel Canto, 76. 31 Properties of Diff erent Kinds of Phänomen Stimme: Imitation und Stefan Voicu, e-mail message to Creaky Voice,” (paper presented Identität (St. Ingbert: Röhrig author, February 5, 2017. 32 at 18th International Congress Universitätsverlag, 2006), 248. See Agricola, Introduction to the Art of Phonetic Sciences, Glasgow, 20 Lucille Nicolosi, et al., Terminology of Singing, 77; Garcia, A Complete Scotland, August 2015). of Communication Disorders: Speech- Treatise, xxxiii; Morell Mackenzie, 11 For a discussion of vocal fry’s Language-Hearing (Philadelphia: The Hygiene of the Vocal Organs: A application in the choral setting, Lippincott, Williams, & Wilkins, Practical Handbook for Singers and see Frederick Swanson, “The 2004), 333; J. Anthony Seikel et Speakers (New York: MacMillan and Vanishing Basso Profundo and al., Anatomy & Physiology for Speech, Co., 1888), 75. 33 Fry Tones” Choral Journal 17, no. 5 Language, and Hearing (Boston: See Miller, Securing, 141. 34 (1977): 5-10; and “Growlers, Fryers Cengage Learning, 2016), 197. John Nix et al., “Application of Vocal and Other Rejects” Choral Journal 21 Theodore C. Levin and Michael E. Fry to the Training of Singers” 23, no. 3 (1982): 5-7, 9-10. Edgerton, “The Throat Singers of Journal of Singing: The Offi cial Journal 12 Stark, Bel Canto, 89. Tuva,” Scientifi c American September of The National Association of Teachers 13 Richard Miller, Securing Baritone, Bass- 1999, 86. of Singing 62, no. 1 (2005), 57. 35 Baritone, and Bass Voices (Oxford: 22 Jerome Casalonga, e-mail message to Frederick Swanson, “The Vanishing Oxford University Press, 2008), author, August 27, 2017. Basso Profundo and Fry Tones” 141. Miller’s earlier work contains 23 Ibid. Choral Journal 17, no. 5 (1977), 7. 36 similar comments on strohbass. 24 Ibid. Ibid, 9-10; Swanson, “Growlers, See Richard Miller, Solutions 25 Leonardo Fuks, “From Air to Music: Fryers and Other Rejects,” 10. for Singers: Tools for Performers and Acoustical, Physiological and Teachers (Oxford: Oxford University Perceptual Aspects of Reed Wind Press, 2004), 156-57, 164. Instrument Playing and Vocal- 14 Ibid. Ventricular Fold Phonation” (Ph.D. 15 Michael Joseph Rossbach, Physiologie thesis, KTH Royal Institute of und Pathologie der menschlichen Stimme; Technology, 1998), http://www. auf Grundlage der neuesten akustischen speech.kth.se/music/publications/ Leistungen (Wurzburg: A. Stuber’s leofuks/thesis/contents.html. Buchhandlung, 1869), 112. 26 John Shannon, Understanding the Pipe Translation my own. Organ: A Guide for Students, Teachers 16 Manuel Garcia writes of the and Lovers of the Instrument (London:

64 CHORAL JOURNAL September 2019 Volume 60 Number 2