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CONCEPTS OF DYNAMICS |
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or propulsion of voice. "When you realize that nothing leaves the throat, you will stop pushing and pulling to make your voice carry/' [78, p. 87] In other words, as Waters puts it, it only defeats your purpose "to push your voice ... or try to project it to the back rows." It is her contention that such efforts interfere with the working of the laws of sound "that will carry your voice for you." [645]
Thinking a tone louder or softer is all that is necessary to make it so, according to Shaw. That is to say, physiologic action governing voice projection is purely an involuntary response to tonal concepts of the singer. [521] Jeffries also supports this viewpoint and adds, "producing (vocal) volume requires only the will to hear a louder tone, and with this a conscious loosening and opening of the throat." [301]
TECHNICAL APPROACH
Controlling vocal dynamics. From previous definitions in Chapter V (q.v.) we learn that vocal resonance is "the intensification and enrichment of tone"; that the action of the vocal resonator is "to amplify certain frequencies"; that the effect of vocal resonance is "to increase the initial tone or to change its quality or both." An apparent relationship exists between resonance and dynamics that may not be overlooked in training the singing voice. The question arises as to whether resonance is an active agency for augmenting laryngeal tone, either wholly, partially, or not at all. Twenty-nine opinions were gathered on this subject. Nine of them express the belief that resonance is the main controlling factor in amplifying vocal sound, 18 believe that breath pressure is the main controlling factor and 2 suggest that resonance and breath pressure combined control vocal dynamics.
Resonance as a controlling factor. Resonance controls vocal dynamics. It endowrs the voice with effortless volume as well as quality. Resonance does not depend on force. [Marafioti 368, p. 100] As Curry explains itt maximum intensity of vocal sound is really produced at the larynx. The resonance cavities serve "to increase the flow of energy from the source, thereby increasing the loudness of the sound." [124, p. 32] Hemery also believes that volume of voice means "increased resonance of a wider area than the larynx." [238, p. 123] Shaw states that resonance and sympathetic vibration are the two methods of amplifying vocal sound. [518, p. 68] Rimmer also holds that "power or largeness of tone, depends upon the proper use of the resonance chambers." [466] The opinions of four professional singers are also relevant:
1. "A person of small stature, who resonates tone correctly, can b^ |
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