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TRAINING THE SINGING VOICE |
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singer can, with a little practice, learn to "hold his mouth and lips in constant position and produce practically all the vowel sounds." Conversely, "a singer who uses his voice correctly . . . can retain a constant vowel'* sound while widely varying the position of his lips and jaw. [578] Wilcox and Lloyd likewise favor the use of the pharynx and throat ratlier than the mouth for vowel formation. Since all vowels are properly shaped in the back of the mouth and throat, the lips should never actively participate in forming vowels. [669, p. 28; 351, p. 8] Coleman suggests tJiat the mouth should be shaped before, not during, the attack of a singing vowel [118, p. 56], while Henley believes that "certain positions of the mouth, tongue, jaws and lips" can be used to accentuate the vowel sound and to induce "greater freedom** of vowel emission. [264] According" to Russell* there is proof that the movement of the velum (palate) and other such surfaces differs radically "not only from vowel to vowel, bait from subject to subject. ... It is therefore not justifiable to postulate a constant position*' for the velum, tongue or mouth. [479; also 712, p. 69]
Various hints for improving vowel attack. In correct attack, the vowel
is formed simultaneously with the release of the tone. The singer is cautioned to prepare his vowel sound in advance of the attack so that nondescript vocal murmurs that glide into the correct vowel may be obviated. [ConkMn 121, p. 33] For clean-cut diction in singing, words and music must be made to coincide. Furthermore, diction in singing is usually much slower and more sustained than in speech. This is especially true of vowel sounds whose duration must strictly conform to the time values of the notes that are sung. [Lawrence 335, p. 10] "Always start the tone with the diction," warns King. Instead of listening for tone, try listening for vowel. [316] In the effort to make a big tone, students often neglect their vowels with resultant impaired intelligibility of the words of a song. Giving full attention to vowel attack will correct this tendency. [Skiles 561]
A comment on diphthong vowels is added at this point. "A diphthong is a compound, but continuous, vowel sound** consisting of two blended vowels that are pronounced in one syllable. (W) Skiles claims that it is futile to attempt to master diphthong vowels before mastering the individual production and blending of its constituent elements, [554] Henschel offers a useful hint for improving diction and vowel attack. It h to practice the rendition of an entire song on nothing but vowels. [365, p. 8] Wilson would have the student practice various songs "by singing them cm a (single) sustained vowel; especially ah, oh and ooh.*' [674, II, p. 20] |
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