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TRAINING THE SINGING VOICE |
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with this frequency, which results in a quivering vocal effect that is called vocal vibrato, [652] The vibrato is as essential to the singing voice as it Is
to the violin tone. [Evetts and Worthington 167, p. 80] Its chief characteristics are experimentally observed to be as follows:
1. It averages 6 to 7 cycles per second in the voice of the artist singer.
[Metfessel 394]
2. A slowed down or irregular rate of vibrato creates an unpleasant effect to the listener. [Stanley 577, p. 367]
3. The regularity of the vibrato is fairly constant in any single tone. [Metfessel op. cit.]
4. The average width or extent of a vibrato cycle in artistic singing is a musical semitone. [Seashore 506, p. 33]
5. There is no apparent sex difference in regard to vibrato width. pbid/j
6. An intensity vibrato varying from 2 to 3 decibels [Tolmie 617] is also present during 50% to 75% of the phonated time of concert singing. [Seashore 506, p. 97]
7. A vocal vibrato is present during 100% of the phonated time in gliding intonations of artistic singing. (68 gliding intonations were studied) [Miller 400]
8. During slurs and accents in the song the vibrato remains constant.
[Stanley 578]
9. The ideal vibrato in artistic singing is smooth and free from chronic irregularities. [Seashore 512, p. 154]
10. Both artist singers and advanced vocal students all show a predominance of the vibrato in tone production. [Tiffin 615]
Seashore believes that the vocal vibrato is a desirable and inevitable attribute of good vocal tone, analogous to timbre. It automatically accompanies phonarion in all well trained amateur and professional singers. [512, p. 120; 513, p. isjlt is a characteristic of all intensified and emotional utterance in song [Scott 501, Foreword]; the outcome of passionate utterance. [Samuels 487, p. 39] It is present whenever feeling is expressed and absent in cold, expressionless voice. To cultivate vibrato, cultivate the power to feel genuinely, not to simulate emotion. This Is Seashore's advice. [511, p. 112]
Should the vibrato be cultivated when training the singing voice? "Yes, by all means!" says Muhlmann. "All good singers have one." [407] In a doctoral dissertation, based on an experimental study in the control of the vocal vibrato, Wagner draws the conclusion that "both children and |
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