Suggested Guidelines for the Composition of Vocal
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NATS VISITS AATS selected pro HE JOURNAL OF SINGING PERIODICALLY publishes of nouncements issued by the American Academy of Teachers unique re Singing. For a brief history of the organization and its Singing lationship to NATS, the reader is referred to Journal of of its founding, the 61, no.3 (January/February 2005). Since 1922, the year papers on all sub Academy has been actively writing and disseminating jects pertaining to the teaching of singing. arising out of the The present paper differs from the usual Statements questions from the Academy in that it came about in response to some available to Douglas Moore Foundation concerning the lack of resources intended principally American Academy of composers who write for the voice. This response is how singers choose Teachers of Singing for composers-in-training who wish to learn more about music and how teachers teach it. At the same time, Addison and learn contemporary Adele voice pedagogues regarding challenges Elaine Bonazzi the paper may inform singers and music for voice. Claudia Cantania inherent in composing and performing contemporary whole rather than Lindsey Christiansen Because position papers arise out of the Academy as a Patricia Craig list the thinking of an individual or small group, it is important to Eric Douglas reflect the Jan time of the drafting of a particular doc Robert Edwin organization’s membership at the does not imply Shirlee Emmons ument. Its appearance in the Journal of Singing, however, the philosophy Robert Gartside NATS endorsement, nor does its content necessarily reflect Westerman Gregg website Jean or this publication. Readers are invited to visit the AATS Hilda Harris of NATS Helen Hodam [www.voiceteachersacademy.org]. Barbara Honn Marvin Keenze Paul Kiesgen SUGGESTED GUIDELINES FOR THE Antonia Lavanne COMPOSITION OF VOCAL MUSIC Jeannette LoVetri of Singing Elizabeth Mannion A Paper by the American Academy of Teachers John McCollum Scott McCoy INTRODUCTION Joyce McLean Richard Miller composer writes music because he or she cannot do otherwise. Dale Moore the gift of musical creativity must exercise Gordon Myers A person possessing colors, and struc Louis Nicholas A it. The melodies, rhythms, harmonies, tone organized Russell Oberlin tures within the creative brain must be released and Chloe Owen and shared with into forms that will enable the artistic idea to be recreated Julian Patrick No one has a right, nor should want to interfere John Powell the population as a whole. is not the only fac George Shirley in this indefinable, magical process. Creativity, however, composer would Richard Sjoerdsma tor in the successful process of musical composition. Any Craig Timbcrlake composition—skills based admit to the need for developing the skills of Shirley Verrett derived from centuries of prior composition, Robert C. White, Jr. upon the musical theories of musical instruments, Beverly Wolff skills based upon a complete working knowledge and the perform Pearl Shinn Wormhoudt skills based upon an understanding of physical stamina Edward Zambara ing process. of musical expression exhibited Journal of Singing, May/June 2007 Singing is one of the great natural forms derived from the nat Volume 63, No.5, pp. 513—521 in virtually all the cultures of mankind. Because it is Copyright 0 2007 is a musical common denominator. As such, National Association of Teachers of Singing ural inflections of speech, singing 513 MAY/JUNE 2007 I~ NATS Visits AATS the process by which musical sounds emerge from the the parameters where the voice will sound best or can singing voice is often taken for granted. It often is as most effectively create the colors the composer desires. sumed that, since anyone can sing, anyone can write Very low or very high notes make articulation more music for the voice. The American Academy of Teachers difficult, so if words are involved—as opposed to vow of Singing sees singing as a trained art. It recognizes els alone or vocal sound effects—intelligibility will suf the skills needed by a singer to maximize the expressive fer. This is particularly true if the tempo is fast. A melody intentions of the composer, and to nurture and protect that is extreme in range, jumping from very low to very the vocal instrument itself. We, as professional singing high (or the opposite) affects breath management, res teachers, embrace dialogue and interaction with com onance shaping, and other production issues. In order posers and those who teach composition. As singers, to be handled smoothly, this requires more effort from many of us premiered a significant number of contem the singer and carries a greater possibility of vocal fa porary vocal works in major opera houses and concert tigue. Concurrently, most singers favor a liberal use of venues nationally and internationally. We know how the entire range, rather than a clumping of phrases singers sing, and how they learn. In this document we within a single sector. Expression of the text will be simply offer our observations, based upon years of col most easily achieved when the range of vocal music lective experience, about those factors that work well approximates the range of the speaking voice. Extremes for the voice and those that do not. We intend no dic of range may be employed in moments of heightened tatorial directives, but simply offer these guidelines for emotional intensity, but one should not write whole whatever value they may be with the hope that the art compositions in extremes of vocal range. In short, range of vocal composition in some small ways may be en should not be used as an end in itself, but should serve hanced as a result. the expressive suggestions of the text. A composer To elicit opinions from the members of the Academy, should know all the traditionally accepted singing Fachs, who live and work throughout the United States, we with the normal range and comfort zone of each. Par developed a questionnaire focusing on those elements ticular care should be taken to understand the differ of vocal composition about which we felt composers ence between those Fachs that are close to each other, such might enjoy knowing our thoughts. While the survey as lyric soprano and spinto soprano, high baritone and concentrates on classical contemporary vocal music, tenor. Even within comfort zones, factors such as pro many of the observations would apply to popular mu longed high volume, repeated notes, long note values, sic as well. The body of this document represents a etc., can affect vocal efficiency. Pinally, while writing compilation of the responses from the questionnaire. within a specific range for a specific singer might max imize the composer’s expressive possibilities, most com QUESTIONNAIRE posers desire multiple performances of any given com position. In general, the greater the range and the more I. If a composer sought your feedback on how to write extreme the pitch motion, the smaller the number of for the voice with maximum effectiveness and mini singers who will be available to sing the music. mal vocal strain, how would you address the follow ing issues? 2. Tessitura. Tessitura is defined as the pitch area in which the A. Melody. majority of the melodic tones of a composition lie. A 1. Range. composition can have both extreme high notes and ex Most well trained singers vocalize comfortably within treme low notes, but if the majority of the notes are in a range of two octaves. Each voice type (soprano, mezzo the upper area of pitch range, the composition is de soprano, contralto, tenor, baritone, bass, plus their sub fined as one with a high tessitura. In many respects, categories—coloratura, lyric, spinto, dramatic, etc.) is tessitura is even more important to a singer than pitch range specific. The composer should be well acquainted range. Composers must understand that singers cannot with these range parameters, as well as the areas within sustain extreme tessitura passages for extended pen- 514 JOURNAL OF SINGING NATS Visits AATS ods. Excursions into the highest notes of the voice may poser must understand that a more advanced level be effective because they stand out from the rest of the singer will be required to sing them. When disjunct texture. If the entire composition is in a high tessitura, intervals are required, singers can incorporate them nothing is accented and the audience has greater diffi into their vocalizing. Many voice teachers already do culty understanding the text. Long passages in either a this as standard procedure, noting that Mozart wrote very high or very low tessitura, or centered in a singer’s very large intervals for the voice and negotiating these passaggio, can be very fatiguing to singers, even those can actually be helpful to finding and maintaining vo with the best technique. Extended sequential passages cal balance. The Academy points out that the diffi on rising pitches are particularly difficult. In general, culty of disjunct intervals is considerably lessened if maintaining accurate pitch, beauty of tone and intel those intervals are thoroughly grounded in the under ligibility of text all will be negatively affected. Again, lying harmonic structure of the composition. the composer should know the comfort zone for each Fach of the voice. For example, lyric sopranos might 4. Octave displacement. tolerate slightly longer passages in the passaggio and Academy members find little problem with octave above, while dramatic sopranos would fade. Ultimately, displacement, except for some additional attention to a melody that is balanced between low and high, be tuning. This may be more a question of musicianship tween sustained and shorter notes, using a variety of than vocalism and will depend to some degree on the dynamics and with an awareness of tempo, makes for logical direction of the melodic line.