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CONCEPTS OF DICTION |
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Continuity of vocal sound is considered an important factor in the singer's diction. The fact that the vowel is the vehicle of voice reminds the singer of the importance of maintaining fluent connections between the vowels of a song. Edward Johnson, manager of the Metropolitan Opera Company, advises singers to carry the voice from vowel to vowel *4Hke a string of pearls," without interrupting the flow of sound. Consonants should be quick, firm and distinct but not distracting. [506] "The job is not to sing through the consonants, but to get the consonants out of the way so that the vowel will have a chance to sing." [Wilson op. cit., p. 38] According to Grove, "tonal expediency cannot justify vowel substitution and its inevitable verbal chaos." [213] Jacobsen advances the interesting theory that each vowel is easiest to sing when it is produced on a pitch level that most closely approximates its characteristic dominant frequency band or formant. Much off-pitch singing could thus be overcome. The correct pitch for each vowel could be arrived at by experimentation (presumably trial-and-error singing) until the singer discovered for himself which vowels were easiest to sing on each pitch of bis vocal range. Some songs would have to be reworded so as to bring the various vowels into more favorable pitch positions for ease in singing. These positions would be different in male and female voices. [297]
Vowel alteration on high pitches. The practice of vowel alteration (also called covering in male and female voices) is believed to be an outgrowth of the occurrence of register breaks in the singing voice. As the beginning vocalist sings up the scale he transcends the regular compass of his speaking voice and enters a relatively unused and therefore undeveloped portion of his vocal range. Here the tone quality weakens appreciably, especially in the male voice, and there is considerable instability of pitch and volume at. one or more points, often accompanied by "fluttering" or "breaks." (See Chapter V) To overcome the suddenness of the transition from well developed to undeveloped portions of the vocal gamut, a firming action of the vocal organs is introduced just before the break or point of greatest weakness is reached. This firming or strengthening action serves to splice the break in the voice. It involves the action of external laryngeal muscles that assist the vocal cords in maintaining maximum tension for high pitched tones. [Curry 124, p. 72] (See also Chapter
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This physiological action is not yet clearly understood by singing teachers and is therefore approached indirectly by means of an empirical teaching device called "covering." This is taught largely by trial and error methods, often with accompanying distortion or alteration of vowel sounds above a certain point in the range, depending upon the type of |
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