Freya Cooper 1505469

Discuss how the implementation of vocal technique can

enhance the performance of a musical theatre song.
Vocal technique is critical in ensuring a singer’s long-lasting health throughout
their career. This essay will explore the use of various vocal techniques in two
contrasting pieces- the classical-sounding Gershwin Brothers’ standalone
song ‘By Strauss’, and musical theatre standard ‘Don’t Rain On My Parade’
from Funny Girl.

There are many diphthongs- vowels pronounced using more than one
phoneme- involved in ‘By Strauss’. Singing on the first vowel sound of each
diphthong can allow for a clearer tone and a more classical sound; for
example, if a performer were to sing on the secondary ‘ee’ sound of the word
‘by’, the sound produced is likely to be thin and nasally resonant, as the space
between the back of the tongue and the soft palate has been decreased.
Singing predominantly on the more open ‘ah’ sound in the word, which is
normally snatched and short whilst speaking, allows this space to remain
open and should create a richer tone that is more suitable for the style of the
piece.1

As well as carrying notes on open vowel sounds, exercises may be used

before singing the piece to discourage nasal resonance for a more classical
tone. Singers could experiment with resonance exercises, such as using the
combined sound of ‘ng-ah’ coming up or down a scale. The first syllable
necessitates the singer to lower the soft palate and raise the tongue to close
the resonant space in the mouth, ensuring nasal resonance. The second
syllable is an open vowel sound on which the singer should release the
previously created tensions to unlock resonance in the chest instead of the
nose. This exercise acquaints singers with the feeling of different resonances,
so when they go on to perform they can choose between them and decide
upon an appropriate resonance for their chosen piece.

‘By Strauss’ includes notes towards the top of an alto singer’s typical vocal
range (see image above). Visualising the support necessary to achieve these
higher notes can help singers to attain the essential foundation needed for
technical singing.2 Imagining two sides of a triangle coming out and down is
one way to incite strong support; thinking out towards the base of the triangle
encourages the intercostal muscles to keep a wide position which will aid
breath retainment and control. Simultaneously thinking down could evoke
diaphragmatic support, and could also help the singer to feel more grounded.

1 F. Smith, ‘The Fundamentals of Singing’, Alfred Music, New York, 1958, pg

20.
2 P. Hurme, K. Karma, A. Laukkenen and A. Sonninen, 'Evaluation of Support

in Singing', Journal Of Voice, ScienceDirect, 2005.

Freya Cooper 1505469

Additionally, thinking down could prevent singers from making the mistake of
subconsciously lifting the chin when singing higher. Singers ‘must not allow
the head to tilt back too far or the entire laryngeal area musculature will be
stretched’, which can lead to strained vocals.3

There are many small, very quick trill-like melismata throughout ‘By Strauss’,
as seen above. It is important that there is clarity between the pitches as if
they are not distinct they could sound slurred and sliding, which does not fit
well with the classical feel of the song. One technique a singer could use to
improve the clarity of the notes would be to practise moving between the
notes slowly many times, then gradually speed up before attempting the piece
at full speed; this will make the muscles utilised to achieve different pitches
familiar with the exact pattern of movement they must use for the melismata
and eventually ‘muscle memory will take over the job of managing your voice’,
making the melismata sound easy and free.4

When a singer is performing a musical theatre song, they must think about
which voice quality they may wish to use in order to best convey the story and
emotions of the character they are portraying. Speech quality might be used
at the start of building songs like ‘Don’t Rain On My Parade’ to allow for a
gradual heightening of energy and belt quality. This makes the song more
interesting for the audience, as the song goes through changes rather than
staying on one level. Speech quality could also be mixed with belt quality later
in the song to aid a smooth transition between the two types of sound.
Additionally, using speech quality could be beneficial to a performer’s vocal
health- speech quality ‘lessens the wear and tear on the voice considerably’,
allowing for a less fatiguing approach to belting.5

Another voice quality that could be used during ‘Don’t Rain On My Parade’ is
twang. Twang is ‘used to create an impression of energy and expressivity’,
two traits which are definitely required for the style of the song.6 Twang
creates more resonance in the mouth and throat, which could help singers
with lower vocal ranges to achieve a fuller sound in higher notes; this could be
useful in this song, as the performer is expected to sing with a well-rounded

3 G. Nair, ‘The Craft of Singing’, Plural Publishing, California, 2007, pg 94.

4 B. Sheppard, ‘The Everything Singing Book’, Simon and Schuster, London,
2008, pg 4.
5 D. Jones, ‘Speech Level Singing Training: Dangers and Benefits’,

VoiceTeacher, 2005, http://www.voiceteacher.com/speech_level.html,

accessed 4th November 2017.
6 J. Sundberg, M. Thalen, ‘What Is “Twang”?’ Journal Of Voice, Science

Direct, 2010.
Freya Cooper 1505469

sound at a forte dynamic.7 Another reason a performer may wish to use twang
is to lessen any strain they may feel when using a full belt quality on higher
notes, especially when they are sustained and repeated as they are in this
number, to avoid discomfort when singing. Using twang as a technique could
also aid a performer in achieving the correct, bright and slightly nasal
placement needed to accurately portray Fanny Brice’s strong New York
accent.

There are several sustained belted notes in ‘Don’t Rain On My Parade’, for
which a performer must utilise supported breath control and release tension to
avoid damaging the voice. A technique that might be practised before
performing the song that could help to release tension is bending the knees at
the moment of the belted note. This should ease both physical and mental
tension- physical, by ensuring that the knees are not locked and encouraging
core support to take the pressure away from other muscles, and mentally by
distracting the singer from thinking about the note they may be worried about
hitting.8 Releasing the tension in this way should allow the performer to feel
the correct sensation that they should experience when they belt, so that
when the knee bend is removed for performance they know the feeling they
should aim for. One could also use the technique previously mentioned of
thinking down and out to engage the muscles needed for vocal support to aid
in breath control, which will ensure that the performer keeps a steady flow of
air throughout the sustained notes.

In conclusion, there are many different vocal techniques which can help a
musical theatre singer to improve numerous aspects of their performance;
vocal techniques are not limited to producing better sound when singing, but
they can also help with acting through song and general vocal resonance.

7 T. O’Hora, ‘Vocal Twang and How To Do It’, VocalPower, 2014,

http://www.vocalpower.co.uk/vocal-twang-and-how-to-do-it/, accessed 3rd
November 2017.
8 J. Kang, J. Jiang and A. Scholp, 'A Review of the Physiological Effects and

Mechanisms of Singing', Journal Of Voice, ScienceDirect, 2017.

Freya Cooper 1505469

Bibliography

Books and Journals

P. Hurme, K. Karma, A. Laukkenen and A. Sonninen, 'Evaluation of Support
in Singing', Journal Of Voice, ScienceDirect, 2005.
J. Kang, J. Jiang and A. Scholp, 'A Review of the Physiological Effects and
Mechanisms of Singing', Journal Of Voice, ScienceDirect, 2017.
G. Nair, ‘The Craft of Singing’, Plural Publishing, California, 2007, pg 94.
B. Sheppard, ‘The Everything Singing Book’, Simon and Schuster, London,
2008, pg 4.
F. Smith, ‘The Fundamentals of Singing’, Alfred Music, New York, 1958, pg
20.
J. Sundberg, M. Thalen, ‘What Is “Twang”?’ Journal Of Voice, Science Direct,
2010.

Websites
D. Jones, ‘Speech Level Singing Training: Dangers and Benefits’,
VoiceTeacher, 2005, http://www.voiceteacher.com/speech_level.html,
accessed 4th November 2017.
T. O’Hora, ‘Vocal Twang and How To Do It’, VocalPower, 2014,
http://www.vocalpower.co.uk/vocal-twang-and-how-to-do-it/, accessed 3rd
November 2017.

Wider reading
J. Fisher, G. Kayes, ‘Successful Singing Auditions’, Bloomsbury, London,
2014.