| Share page | Visit Us On FB |
|
CONCEPTS OF RANGE |
»57 |
||
|
|
|||
|
Six professional singers are among the 30 advocates of middle range practice. These are: Vivian della Chiesa [135], Zinka Milanov [397], Ker-stin Thorborg [611], Stella Roman [475], Marian Anderson [12], and Elizabeth Schumann [498]. Their composite viewpoint is expressed as follows: It is a mistake to try to develop the (full) range before the middle voice is under control; scale building begins with the notes that lie smoothly in the voice; extensions of the middle range are added note by note, only after the middle register is secure. Other opinions in this group are represented by the following typical concepts:
1. The first exercises should establish the lower register tones. Subsequently the voice may be extended downward by comfortable degrees, then upwards gradually until the falsetto and highest limits of the vocal range are encompassed. [Wilcox 669, p. 25]
2. According to Tosi (1742), after the middle octave was firmly established, the next step was to extend the range in both directions. [Klingstedt 320, p. 21]
3. "Begin practice in the range that comes easiest to your voice. . . . Avoid hign notes." [Stock 584; also Freemantel 196]
4. "Stay with the medium part of the voice until a clear concept of good, easy tone has been gained." [Combs 119, p. 10; also Shakespeare
5*7> p. 79]
5. Avoid exercises in extreme upper or lower parts of the vocal range where they produce strains during attack or phonation. [Henderson
*43> P- 52]
6. For best results, work very gradually from oft-repeated model tones to less accessible and more difficult ones. [Drew 147, p. 165]
7. The so-called "talking song" which encompasses the middle or conversational voice is best study material for beginners, since fewer problems are encountered therein. [Barbareux-Parry 34, p. 262]
Directional treatment. Vocal practice implies vocal movement and movement requires direction. Hence, as the voice changes in pitch from one note to the next it must either move up the range or downward; from lower to higher pitches or vice versa. Apparently, this question is fairly important to singing teachers since 29 opinions were gathered on the subject. Of these, 13 agree that downward practice is preferable to upward practice in training the singer's range; and 16 advise special techniques for approaching high tones.
Downward practice is advised. Hill wants downward scale practice to be "a constant study of the beginner." [272, p. 46] Philip believes that |
|||