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art TRAINING THE SINGING VOICE |
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motes freedom of tongue action in enunciation. [655, p. 95] Lloyd recommends trilling the r as "a fine practice for relaxation of the tongue/' [351, p. 18]; and Novello-Davies advises the student to practice the lip and tongue movements of word formations both silently and aloud as an ex-
arise far improving diction. [430, p. 129]
Consonants as interrupters of tone. Consonants are regarded by 25 authors as antivocal elements; that is, as interrupters of tone. Mme. Galli-Cuici, noted diva, reminds the student he must always sing on the vowels since the consonants "are merely the divisions between the vowels." "Consonants have no carrying power. ... If you hang onto the consonants, you HI the legato/' [197] Benedict advises the use of consonants that have pitch for beginning practice. Such consonants as I, m, n, r, v, z, and itg "can be sung on every pitch of the vocal range/* [44; also Clippinger 104, p. 2§] The sounds of 1, m, n, are really hybrids (semi-vowels), according to Henderson and Palmer. They have time values and combine consonant treatment with the duration values of vowels. Therefore they are less antagonistic to the voice in singing. [242, p. 356]
Neva- practice isolated consonants, is Hagara's advice. In perfect diction, the consonant must always accompany the vowel that follows it. |tt©»p. §4] Other opinions in this category are represented in the following summarizing statements:
1. Yoweis are vocal sustainers. Consonants are vocal interrupters. [Taylor fk»» p. 13; Hjortsvang 276, p. 119]
2. The singer's slogan should be "vowels long, consonants short." [Shaw 5S7l
5. The consonants should be quickly articulated "so that the 'ribbon* of sound is almost unbroken." [Young 698]
4. Singing requires the ability to use consonantal diction without allowing the threat and vocal passage to be come constricted in any way. {Bartholomew 40]
5. Consonants, unlike vowels, are sounds that may not be sustained. Therefore, their production should be quick and clearly defined. [May-bee 381, p. 8; Fary 187]
6. Throughout the entire compass of the voice, the singer must be abfe to enunciate aH the consonants distinctly and delicately, without lacriiottg any of the quality of the vocal tone. [Patterson 440; Wharton
7. The singer should never forget these two fundamental facts: a) |
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