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TRAINING THE SINGING VOICE |
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voice that is being trained. Sound and sensation are the main criteria for identifying and evaluating "covered" tones. Henley claims in his article on "training the male voice" that we have inherited our use of covered tones from the masters of bel canto in the early eighteenth century. Pupils were then taught that "pronunciation of words, on high notes especially, must be modified for the sake of beauty." [258] Various reasons have been advanced for the use of covered tones in singing. Of the 22 statements gathered on this subject 15 are in favor of using this device to facilitate the singing of high pitches while 7 protest against its use. There is no conclusive argument on either side of the controversy and the opinions summarized below merely serve to present the case for those who are interested in pursuing it further.
VOWELS SHOULD BE ALTERED
1. Pure vowels are easiest to produce only within the speaking range, which is usually only an octave or less. Therefore, "some degree of vowel modification always takes place in the more extreme pitches
of the register." [Austin-Ball 31, p. 52; Judd 309, p. 29]
2. Modifying (covering) the vowels in the upper registers helps "to reduce the physical strain of their production to a minimum." [Philip 446, p. 130]
3. It is best to alter the vowel "at the point where discomfort sets in," to avoid the quality of a scream or shout in the tone. When covering, focus the tone well forward. [Armstrong 24]
4. "The covered tone, although it lessens the amount of tone, adds richness, and thus maintains a legato." [Gould 206, p. 45]
5. "A covered tone is not a smothered tone. ... It is simply an emphasis of post-nasal resonance." The use of ing or ung are the best methods for developing the covering action. [Wilson 674, II, p. 8]
6. Women singers will find relief in the head voice when adding a slight a (as in hot) to any vowel. [Henley 253]
7. "Always think 00 into the upper tones, whatever the vowel."
[Bushell 82; Hall 224]
8. The vowTel 00 is always blended with the ascending tone when it
is being covered. [LUll Lehmann 337, p. 81]
9. To experience the sensation of covering high tones, expand the back of your mouth as if about to bite into a large, round apple while singing these tones. [Maigit Bokor 54] |
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