Voice Training Exercises
Quality Concepts
BC 1. Resonance is one of the primary goals of every known system of voice training.
2. There should be one resonance quality throughout the voice.
EM 1. Emotion controls the voice quality.
2. Vocal color varies with mood and expression.
3. Variations of resonance and quality are in direct ratio to the emotional complex of the singer.
4. The right expressional use of the voice is a factor in determining and maintaining resonance.
IN 1. The right expressional use of the voice is the greatest factor in determining and maintaining its quality and resonance.
2. To supply deficiencies in the tone color, arouse a genuine feeling in the singer’s voice.
NA 1. The natural law is: noninterference with the action of the vocal cords and full use of the resonance space.
2. Resonances will always occur naturally when muscular interferences are removed.
3. Leave the resonators alone.
PSY 1. The governor of tone quality is the mind and imagination of the singer.
2. Think a resonant tone and you will have it.
3. The great singer colors his voice psychologically and not by conscious control.
RE 1. Voice is resonance and nothing more.
2. All sound and quality is produced by the resonators.
3. Broadly speaking, the whole body is the sounding board of the voice.
SP 1. A resonant speaking voice is the secret.
2. If you have a resonant speaking voice, you will have a resonant singing voice.
3. The mouth remains always the “center of effort,” the center of action, the core of the voice, the real pronouncing organ, and the actual former of the voice, but dependent upon its assisting resonators, the chest and the head.
CO-OR 1. Resonance quality: the end product of a co-ordination of the processes of respiration and phonation.
2. Resonance is affected by different adjustments of the resonators, -nose, mouth and pharynx - and by different positions of the ar-ticulators - tongue and lips.
EF 1. The pharynx, generally speaking, is the primary resonator.
2. Favorable vocal resonance results from correct voluntary adjustments of the mouth and the lips.
3. When the tone is really pharyngeally resonated, the only tension or control which holds the position or shaping of the cavity pertains to the muscles of the tongue hyoid bone (i.e. , the geno-hyo-glossus muscles) . The pharyngeal resonance cavity is relatively high - it is not down the throat or neck.
4. The pupil should be instructed in the best methods of controlling the positions of the throat, tongue, cheeks, and lips that will produce optimum resonance conditions during phonation.
SC 1. The study of resonation in the human voice is the study of techniques by which the normal reflex actions of the body, (bearing on the muscle action of the larynx, pharynx, naso-pharynx, soft palate, jaw, tongue, and lips) will allow the tone vibrations produced by the vocal lips to seek all available resonance in the human body with the least possible interference.
2. Resonance is the final determinator of quality in the voice.
3. Good singers voices possess prominent low overtones at 500 cycles and prominent high overtones at 2900 cycles.
4. What is commonly called “getting resonance in the voice” is really getting “2800,” a matter of proper vibration as much as of proper resonance.
5. The pharynx is the main place of resonance.
PHP 1. Humming gives the best sensation for placement.
2. All front vowels will give you a more resonant tone, if placed correctly.
3. Nasal resonance - an illusion of head resonance - is due to bone conduction of sound.
PPA 1. The resonance of the normal voice quality uses the pharynx as the primary resonator, amplified or modified by mouth resonance and the natural hum in nasal resonance.
2. Resonance changes must be tuned to fit register changes.
3. Changes in resonance placement must follow the direction of vocal cord vibration or adjustment.
4. Establish nasal-pharyngeal resonance within the range of the conversational voice.
5. A pharyngeal control of the vowel sounds, balanced by lip action when necessary, with a clear and accurate articulation of the consonants, supported by a pressure flow of the breath, in a basic
nasal-pharyngeal resonance.
REG 1. The different registers require different resonant placements.
2. The fundamental and overtones generated at the larynx require resonation of vowel bands of frequencies.
RES 1. Breath is the prerequisite for resonance.
2. One cannot have a resonant tone without the proper breath support.
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