Assorted Tenor Problems 137 EXERCISE 7.5 EXERCISE 7.6 Exercise 7.7 begins just below the primo passaggio and moves directly to the secondo passa; y should be slightly lower for a heavier voice, slightly highcr fora lightcr instrument.) Gradually this cxcr cise, as well as the general pussuggiv vocalises, should be practiced in neigh boring higher keys. Alternating front and back vowels should be used. EXERCISE 7.7 Depending upon the already existing skills possessed by the emerging tenor, pitches above the secondo passaggio point may be approached either through intervallic leaps or consecutive pitch progressions. Some of the less-strenuous exercises earlier suggested for tenor passaggio work may be cautiously attempted. There is no magic in a particular pattern of pitches. Exercises that coordinate the three parts ot the vocal mechanism (power source, vibrator, resonator) and liberate the singing instrument should be called upon. - : ‘The erstwhile baritone being feborn as a tenor needs to know that such an event is not sudden but gradual. The singer should first be absolutely certain that sound advice from-a-number of sources has been sought Changing, from baritone to tendirjs'@ drastic career decision for an estab- lished singer. (It3s, of course, mufeh easier for the student bantone, but still requires time and patience.) The change of category ought not to be made when the predictable number of performing years ahead is limited. If re- examination of the basic premisg€of free vocal production (breath man- agement, agilily, resonation, vowel modification, the unified vocal scale, and vocal endurance) shows clearly that problems have resulted from the superimposition of baritone “esl” on a tenor instrument, the change is appropriate. i ‘There are some male voices that might well go in the direction of either a tenor or a baritone category. [his is particularly true with the dramatic baritone who could be equally comfortable as a robusto tenor or even a TT Digitalizado com CamScanner Dightalzado com CamScanner138 Assorted Tenor Problenss Heldentenor, or the light lyric baritone who could be comfortable with roles of a lower-lying tenor tessitura. (This is because of overlapping passaggi points between some baritone and tenor categories.) However, it may be that life will remain much easier if the monumental move into the heavier or high-lying tenor categories is not made, There are numerous instances of baritones who tried to make the transition without success, even thereby shortening their performance careers. Partially, the decision is an emo- tional and psychological as well as a physical one Very often an interesting pedagogical question is posed: if the young. potential tenor is not comfortable singing any of the tenor literature, is it not advisable for him to sing for several years as a baritone? Would singing tenor immediately not be too strenuous and too discouraging? Certainly, in such cases, the tessitura of high-lying tenor literature (particularly in a sizable potential tenor voice) should be avoided. But to classify the singer as a baritone and assign him baritone literature may not always be a wise move. Instead, the singer can be told that he is a potential tenor and that he should concentrate on medium-range literature. It is a mistake to have him attempt baritone aria literature while waiting to “‘dis- cover” his upper range. Proper resonance balance is the immediate aim. If this is best achieved by singing, some of the literature in medium keys, there is no harm. However, to try to make the young, potential tenor sound like a baritone for several years and then to tell him he is a tenor is ques- tionable pedagogical practice. Most professional singers once classified as baritones who later moved into tenor categories were originally misclassi- fied and were encouraged to falsify the native timbre of their instruments. It is for this reason that proper vocal classification of a male voice is essen- tial near the beginning of the technical journey. One final word on this topic of the baritone/tenor dilemma may be appropriate. A certain number of young male voices are in flux because of mutation related to physical development. These singers have pleasant voices that seem limited on both ends of the vocal scale, yet they are musical and want to sing. Identifying the passaggi will be helpful, but the teacher should remember that every few passing, months will bring about substantial developmental changes. Freeing the voice as an instrument will eventually reveal its classification. Classifying a young singer in his early months or even first year of study is not necessary. It is better pedagogy with such males to adopt a policy of wait and see. THE PSYCHOLOGY OF SINGING TENOR Performance anxieties beset every public performer at some point in a career. Tine more intense the performance responsibility, the higher will be the degice of armiety. Lowever, much performance anxiety is unneces- Digitalizado com CamScanner Dightalzado com CamScanner139 Assorted Tenor Problems sary. It is not foolish to experience fear if one is called upon to perform tasks that go beyond one’s capabilities. To expect success during public singing of what has never gone well in the practice room or the voice studio is sheer folly. True, sometimes the flow of adrenalin during performance makes certain passages easier, but physical and emotional excitation is no substitute for technical skill. Equally foolish is permitting oneself to be prey to performance anxiety about what always has gone well in practice sessions. The whole purpose of establishing vocal technique is to secure the acoustic and physical coor- dination that produces beautiful singing. One drills those coordinations and then calls upon them with assurance during performance, unless an uncontrollable condition, such as illness, intervenes. If a singer is unwell but must go ahead with a performance, he has every right to expenence anxiety. Even then, a secure technique will pull him through. Tenors are sometimes accused of being nervous performers. The point has already-been made that much of what is demanded of the tenor goes beyond the requirements for other singers of elite vocal literature. There is no need to mention it again here, except to note that the tenor probably has considerable reason at times to be anxious. A conductor who takes one tempo at the dress rehearsal and another at performances (which is not an uncommon occurrence at all levels of competence) may cause more diffi- culties for the tenor than for other principals. For example, in the Rigoletto quartet, the Duke’s task is far greater than that of the other singers. It is true that other singers also have moments of unusual responsibility, but the tenor has them with greater frequency. A lagging tempo or an unrea- sonable orchestral dynamic level is often more unfavorable for him than for other singers because of the nature of vocal writing for the tenor. However, tenors who sing literature appropnate to their particular Vocal Fach, who have fine technical and musical foundations, and who are healthy probably exhibit no higher levels of performance anxiety than do other well-prepared singers. For no other Fach is “the high note” surrounded with such expectation as it is in tenor literature. Even the coloratura soprano does not depend as heavily upon the climactic high note. Low notes for basses do not have the same dramatic impact as high notes for tenors. Baritones, whose registra tion events and ranges are often only a full tone below some of their tenor colleagues, are almost never required to maintain the high tessitura fre~ quently demanded of tenors. (There are notable exceptions such as the I .Pagliacc? prologue or the baritone’s vocal exploits in Carmina Burdna.) The tenor repeatedly exhibils the ullinate pitelies of his voeal range at the mast exposed and dramatic and musical moments. Given the life he must lead on stage, the tenor may need lu be Ue most technically secure and emo- tionally stable singer in the cast. In the introductory remarks of this book it was noted that singing tenor requires courage; that sentiment may be a good one on which to close. Tenorial courage comes, in part, from being, well prepared and from Digitalizado com CamScanner Dightalzado com CamScanner140 Assorted Tenor Problems possessing a dependable technique. Courage is built on inner security as well. The more quietude and stability the singer has in his private life, the greater will be his professional calm. The wise tenor, planning a profes- sional career, will search for an ordered life, a disciplined daily routine, secure musicianship, solid technique, good health habits, and supportive people around him. He will avoid emotional highs, temperamental eccen- tncities, pertormance superstitions, and harmful outside agents. 3 The purpose of artistic singing is to communicate beautiful sound to a listening public by means of expressive timbre, musical intelligence, and draniatic understanding, ‘The responsible acceptance of those tasks, al- though they may be more demanding for the tenor than for any other vocal type, makes singing tenor highly rewarding. Digitalizado com CamScanner Dightalzado com CamScannerAppendix A International Phonetic Alphabet (IPA) Symbols IPA SYMBOLS FOR VOWEL SOUNDS. IPA Symbot English Malian French ti heen Liebe Prima ies ta thin ich lel chaos Leben pena été, crier fe] bet Bett, Gaste, tempo tes, pore ney (el bat 7 fa} task parle (American) fo} father Stott camera ras, ape lol hot (British) ~ 7 isl soit. att Sonne morto somme, tol rote Sohn oe eau pauvre, tu) os Mutter < {u) Bn, fool Mut 0 ou lal up = = = be) Gehwa) getan ahead : {y] (approximates (i] plus [ul) une, {rl (pproximates [i pus tu ~ lol (approximates [e} plus fol) eu, {ce} (approximates [e} plus (3) bea, Vowel Sounds Peculiar to the French Language (91 . i temps is tim, vin Digitalizado com CamScanner Dightalzado com CamScanner0 LLL LLL LLL LLL 1a2 International Phonetic Alphabet Symbols IVA SYMBOLS FOR SEMEL VOWELS (GLIDES) AND DIPH THONGS vA Symbol Inglish German i yes ja Iw wish fon nice fue} Mai, Es lau) house ao} Haus [etl way Io boy [oo] Hauser, Krew. lou} “ Malian Trench ion, p mons {oi fou fer} bul IVA SYMBOLS FOR CONSONANT SOUNDS Varrs of consonants, one ve ced and the other unvoi ed, are executed with similar tongue and lip positions. Wa Classification by IVA Symbot Voiceless Formation Symbol Voiced ipl pope bnlabsal [b} bub 1 tote aalveolar [a] dead I) coke velar lel glug, i" lite Jatnodental Iv valve 14) think Innguadental (al the ts} cease dental fel zones uv ‘Sh! ingua-alveolar bl vision () ich (German) palatal il ach (German) velar a Paris (French) thy hash glottal Pp) ub-oh! (stroked (aspirate) glottal) wy chase lingua-alveolar {dy} judgment Wh tyetse. nguadental {dz} adds As just indicated, the pairs are as follows: Ipl-fb) {tht} kh Ig) ieivy 19} fa} Is}- La] UV-ts1 Isl Pity (hy-(4) [t/}-f43) [ts}-[uz) Iv] 5 generally believed to be without a voiced counterpart) izado com CamScanner Dightalzado com CamScannerInternaniomal Phunety: Alphabet symbole NASAL CONSONANTS WA Symbol Im] ma In} ™ to} son In], ogi (tatany, onion (knghish), ogreau (Frenchy Im] condorte (Mahan) OTHER VOICED CONSONANTS Classification by Formation bilabial naval alventar naval velae naval palatal naval nasal bbaadental WA Symbol id fogjia (Italiany Wh ull 1 are (retroflex 1, sometimes referred to as mudwestern £) bo very (single tap r, asin British speech) iw carte (taliany, Grund (Germany (alveolar till) * The symbol [f] is used in many phonetic sources te represent the alvetlar ed | er me the IPA symbol for the trilled F |r] 18 used indiverurunately in many Amnetwan series . 4 : 4 a Digitalizado com CamScanner Dightalzado com CamScannerAppendix B Spectrographic Analysis of Some Famous Tenor Voices What makes the operatic tenor voice sound exciting to the listener? Are there common timbre characteristics.to be found among all premier tenor voices? If so, what are they? How can they be determined? Spectral anal- ysis may provide some answers to those questions. It was already seen in Chapter 4 that several pedagogical parameters can be identified for a singer through the use of spectrographic analysis. Application of those analysis techniques to mature, top-drawer tenor sing- ing, artists produces some fascinating. revelations. Always to be taken into account are differences in recording ambiance and period technology pertinent to any recorded performance. Microphone characteristics, sound filtering, and audio engineering maneuvers vary from decade to decade and from one recording studio to another. How- ever, certain acoustic attributes of the sounds of singing emerge unaltered, regardless of recording circumstances Passages here chosen for acoustic analysis are from much-beloved arias, sung, by much-beloved tenors. Selections are from passages during which the singer is either momentanly unaccompanied by orchestral sound, or only lightly accompanied. Three tools are useful in determining timbre characteristics: (1) the spectrographic display, (2) the average power spectrum, and (3) the power spectrum. Each will be considered in turn, SPECTROGRAPHIC DISPLAY The technique of spectrum analysis was previously detailed in Chapter 4 In each of the phonations here under consideration, a spectrographic dis- play of the passage analyzed appears in the lower window of each figure (sée Figure B.1). The horizontal axis represents time, the vertical axis fre- quency. Degrees of darkness indicate levels of acoustic strength. (See Chapter 4 for a complete explanation of how phenomena such as vibrato, vowel definition, and_singer’s formant can be observed in spectrographic displays of this kind.) Digitalizado com CamScanner Dightalzado com CamScannerHHO Spectrograpiuc Analysis of Some Famous Tenor Voices AVERAGE POWER SPECTRUM In the upper left-hand window, the horizontal axis represents frequency, the vertical axis intensity. In this analysis, the power spectrum is averaged between cursors Land 3 (being, the two dotted vertical lines most left and night) shown in the spectrographic display. POWER SPECTRUM The right-hand upper window displays the power spectrum at cursor 2 (the dashed central cursor on the spectrographic display). The horizontal axis represents frequency, the vertical axis intensity. The “spectral enve- lope’ of this graph resembles the average power spectrum when both graphs (the upper windows) present an analysis of the same phenome- non—in this case, a constant sound that is sung, without change in pitch or vowel definition Texts are indicated above the spectrographic analysis not by actual syllabitication but as the singer idiosyncratically joins changing phonetics. For that reason, texts are represented in the original language sounds, not by IPA symbols The first segment to be analyzed is the final “pensier!"" from “La donna & mobile,” (Rigoletto). The pitches are Ff and B, on the syllables “pen [e] and “sier’’ [jc] respectively. It consists of an orchestra-free passage except for the beginning and the conclusion of the sustained B,, at which point the orchestral sound is manifested by grey harmonic “smudginess.” The four subjects are Jussi Bjoerling (Figure B.1), Franco Corelli (Figure B.2), Placido Domingo (Figure B.3), and Luciano Pavarotti (Figure B.4). Figure B.1 (Bjoerling) is admirable in the cleanness of its distribution of acoustic strength; i.e., there is almost no indication of undesirable nonhar- monic energy. between the harmonic multiples of-the fundamental fre- quency. In addition, the bandwidth terminates at about 3200 Hz, with little acoustic energy located above. Bjoerling’s remarkable ability in combining lynicism and energy to produce beautiful vocal sound is apparent. Figure B.2 (Corelli) demonstrates unusual strength in the second par- tial (1500 Hz), shown by the highest peak in the average power spectrum. Also of interest is the high concentration of acoustic energy in the region of the singer's formant (2500-3500 Hz). The relationships of these energy ine are probably responsible for the Spuite nature of Corelli's distinetawe timbre. jure B.3 (Domingo) indicates a somewhat narrow vibrato excursion ‘ evel concentrated in the 3rd, 4th, and Sth partials of the "y, with almost no acoustic energy occurring beyond ‘cunts for the modification of acoustic components so and ab funds 3400 Hye Digitalizado com CamScanner Dightalzado com CamScannerW7 Spectrographic Analysis of Some Fumous Tenor Vorces characteristic of this artist's singing, not typically found in some of his contemporary tenor colleague: Figure B.4 (Pavarotti) indicates tremendous levels uf acoustic en throughout the spectral bandwidth, even beyond (above 3500 Hz) th “traditional” upper boundary of the singer’s formant. Further, the manner in which he combines vibrato parameters of cps., frequency excursion, and intensity leads to the perception of a grandiose production. The avsthetic and acoustic chiarescuro aspects of classic international vocalism (elements. of depth and brilliance) are evident in this thrilling phonation. The spectrographic displays of Figures B.1 throuyh B 4 also show two diverse stylistic routes for approaching a high note. Figures B.2 and B.3 (Corelli and Domingo) illustrate a glissando approach to the hiyh B. In those phonations there is a 0.4 second adjustment during which resonance bal- ance is altered. This “scooping” occurs between the termination of the sibilant (s] and the initiation of the pitch B, on the vowel [e]. Figures B.1 and B.4 (Bjoerling and Pavarotti) show a markedly different approach there is no glissando. The pitch B, then starts immediately without need to readjust the vocal tract and without loss in either vibrancy or purty of vowel definition. The aesthetic results verify the acoustic efficiency. Although the next segment under consideration (the final climactic “vinceré!”’ from “Nessun dorma,” (Turandot), with sustained B, on the syllable ce, followed by the sustained A, on the syllable ro) displays in all four graphs the presence of orchestrally generated sound, it nevertheless provides an excellent sample of how the four tenor voices considered above treat one of the most exposed moments in operatic performance Figure B.5 (Bjoerling) displays the same neatness of resonance balanc- ing indicated in his Rigoletto passage. Bjoerling’s inserted characteristic quick embellishment on the rd can be clearly observed, and indicates a remarkable ability to retain constant vibrancy at any tempo or frequency Figure B.6 (Corelli) exhibits extensive acoustic energy in the regions of the singer's formant, combined with great vibrancy. Considerable strength is also apparent in his prominent second partial. The degrees of darkness at the bottom of the graph indicate that the orchestra was at high decibel levels (as was Corelli!). The phonation of Figure B.7 (Domingo) displays a somewhat brief encounter with the sustained B, and reveals a considerably narrower vi- brato phenomenon (beginning nearly straight) on the By. The glissando through which the B, is reached demonstrates reductions in both vibrancy and acoustic strength. In returning to the tinal note on A, (ré), the vibrato. stabilizes and the resonance balance exhibits great beauty. Pavarotti’s phonation in Figure B.8 is an exemplar par cacellence of the energy and beauty of his amazing vocalism, with its completeness in pitch accuracy, constant vibrancy and overall vitality. The spacing of upper par- tials, the avoidance of undesirable nonharmonic acoustic energy between them, the rate of vibrato and extent of its excursion, and the intensity of his Continued on p. 152. izado com CamScanner Dightalzado com CamScannerFIGURE B.1. Spectral analysis of the voice of Jussi Bjoerling in the final “pensier” from “La donna @ mobile” (Rigoletto). Rigoletto, RCA Records, ©1970, Conductor Jone! Perlea. Orchestra: Rome Opera Orchestra and Chorus. Producer: Richard Mohr. Recording location: Kome Opera House, June 1956. FIGURE B.2. Spectral analysis of the voice of Franco Corelli in the final “pensier’”’ from “La donna é mobile” (Rigoletto). “ays Le a Prince of Tenors, Volume Ml, Legendary Recordings, (LR 198-2). Digitalizado com CamScanner Dightalzado com CamScannerFIGURE B.3. Spectral analysis of the voice of Placido Domingo in the final “pensier” from “La donna @ mobile” (Rigoletto) sa ead | aa | ila, boda Bravissimo Domingo, RCA Red Seal, ©1985, 1982. Conductor. Erich Leinsdorf. Orchestra: London Symphony. Producer: Richard Mohr FIGURE B.4. Spectral analy: Luciano Pavarotti in the final “pensier” trom “La donna é@ mobile’ (Rigoletto) of the voice of Rigoletto, Londor Orchestra: Orchestra e Coro de! Teatro Comunale di Bologna. Producer: Christopher Raeburn. Recording location: Teatro Comunale di Bologna. 140 Digitalizado com CamScanner Dightalzado com CamScannerFIGURE B.5. Spectral analysts ot the verve of Jussi Broerling an the tinal ovincero! trom “Nessun dorma” (Ltrandot) FIGURE B.6, Spectral analysis of the voice of Franco Corel in the tinal "'vincero!” from “Nessun derma” (1 urandot) Digitalizado com CamScanner Dightalzado com CamScannerFIGURE B.7. Spectral analysis of the voice of Plaado Domingo in the 1 “vincero!” trom hie resi ‘ stant Mot, Deutsche Grammophon, ©1982, Conductor: Herbert Von Karajan Orchestra: Wiener Philharmoniker. Producer Gunther Breest FIGURE B.8. Spectral analysis of the voice of Luciano Pavarotti in the final “vincerd!” from “Nessun dorma’’ (Turandot) ss Domingo Pavarotti in Concert, London, ©1990, Conductor Mehta, Recording producer Chnstopher Raeburn wie Recording, location: Baths of Caracalla, Rome, July 1990, Ne as Digitalizado com CamScanner Dightalzado com CamScanner152 Spectrographie inalysis of Some Famous Tenor Voices FIGURE B.9. Spectral analysis of the voice of Jussi Bjoerling in the “High-C passage” from ‘Che gelida manina” (La Boheme). = | Great Artists at the Met, Met, 1936. Conductor: Nils Grevillius Orchestra: Stockholm Concert Association Orchestra sound as it soars above an extremely loud orchestral web, make this pho- nation viscerally, emotively, and interpretatively thrilling. As part of his attention to the completeness of vocal timbre, Pavarotti inserts an [a] syl- lable within the word “vincerd,”’ so that it becomes “vin-a-ce-r0.” Although this practice may be open to some question musically, a close examination of its occurrence here shows that the singer thereby maintains constant vibrancy and continuance of the legato. This is a trademark of some verismo vocal styles. Note that Pavarotti adopts the “Bjoerling embellishment” in this segment at exactly the same moment as does Bjoerling, thus retaining, constant vibrancy. Although their voices are of different nature, size, and basic timbre, the productions of both Bjoerling and Pavarotti are charac- terized by great freedom, as this group of phonations attests. Certainly one of the most celebrated of all moments in the operatic tenor literature is the “High-C passage” sung by Rodolfo in “Che gelida manina” (La Boheme). (The original version did not demand the C, ex- pected today of a tenor. Under certain performance circumstances the aria 1s transposed so that B, replaces C, as the “high note.” The Cs phonations are chosen from recordings by Bjoerling, Domingo, and Pavarotti.) Figure B.9 (Bjoerling) again exhibits great clarity in the phonation, by avoiding, noise elements between harmonic partials, and by retaining, con- stant vibrancy (momentaniy interrupted by the insertion of au {li} in the Digitalizado com CamScanner Dightalzado com CamScannerFIGURE B.10. Spectral analysis of the voice of Placido Domingo in the “High-C Che gelida manina” (La Boheme). assay” from “ell, hdl a ha La Boheme, RCA Red Seal, ©1974. Conductor: Georg Solti. Orchestra London Philharmonic Orchestra. Producer: Richard Mohr. Recording location: Walthamstow Town Hall, London FIGURE B.11. Spectral analysis of the voice of Luciano Pavarotti in the “High-C passage” from “Che gelida manina” (La Boheme). ain inn y La Bokéme, London, ©1973. Conductor: Herbert Von Karajan Orchestra: The Berlin Philharmonic Orchestra epee Digitalizado com CamScanner Dightalzado com CamScanner154 Spectrographic Anatysis of Some Famous Tenor Voices middle of the syllable “spe” when moving from Aj to C,). En route to the Fy. the characteristic “Byoerling embellishment” (Bj-C,) is visible. An ex- ceilent model ot vocal efficiency in singing, is here provided, as is consis- tently the case with this wonderful tenor technician. Figure B.10 (Domingo) displays a phonation in which this artist's nor- mally pleasing vibrato rate narrows considerably at Cs, approaching a straight timbre. The glissandi approaching and leaving the Cs also suggest degrees of straight-tone timbre Figure B.11. (Pavarotti) is remarkable in its duration of the C; as well as the extent of vibrancy and intensity. It should be noted that despite the differences in instrument and timbre, Bjoerling and Pavarotti approach the C, and return from it in similar fashion. Extensive observations regarding these 11 phonations could be made. Without attempting, detailed comparative study (thereby causing primo domo wars among partisan admirers), suffice it to say that although spectral analysis reveals nothing the musical ear cannot hear when listening to great performers, it can graphically verify what the ear tells us, and testify to similar and dissimilar characteristics among great voices. ne Digitalizado com CamScanner Dightalzado com CamScannerGlossary of Terms Abduction: opening, of the glottis Adduction: closure of the glottis. Aggiustamento: vowel modification in singing; a method for achieving an even scale throughout the registers of the singing voice, associated with the historic Itaan school Alveolus (pl. alveoli): small air cavity in the lung, Aponeurosis: thick tissue that connects muscle to bone. Appoggio: a technique, associated with the histone Italian school, for es- tablishing dynamic balance between the inspiratory, phonatory, and res onatory systems in singing, Arie antiche: vocal operatic literature from the early and (sometimes) late Baroque periods. Arrotondamente: a rounding, of vowels so as to diminish shnil or open singing in the course of the mounting scale, as practiced in the historic Italian school Bel canto: “beautiful singing,” a term now frequently applied to the ‘clas- sical” European solo vocal literature and singing style tound prior to the middle of the nineteenth century; often narrowly restricted to the vocal writing (and performance practices) of Bellini, Donizetti, Rossini, and their contemporaries; used by extension to apply to styles of singing that stress vocal finesse over vocal power. Breath cycle: process of inspiration and expiration. Buccal cavity: cavity of the mouth; oral cavity. “Call” of the voice: unmoditied timbre in calling or yelling, detrimental to the singing voice in a fessitura above speech range. Cantilena: a sustained melody in “singing” style. Cavatina-cabaletta: aria, or scena form, of the bel canto period, consisting of a flowing graceful melody, followed by a ford and dramatic contrast- ing, section; sometimes a recitalive is interpolated between the two sec: tions. “Chest voice: (see voce di petty), Chiaroscuro tone: the “light-dark” timbre that characterizes well-balanced resonance in the singing voice. Copertura: the technique of singing with voce chiusa timbre as opposed to woce uperta timbre, especially in the mounting scale, by using gradual vowel moditication and by avoiding heavy laryngeal adjustment Digitalizado com CamScanner Dightalzado com CamScannereeeeseevasvsseeesseaoseeevagnurvnw~ ~~~ 156 Glossary af Terms Countertenor: performance ty treque Cover: inakes use of falsetto Unroughout much of his Uy a natural baritone a term often used to descnbe excessive laryngeal activity and ex ayygerated. ve that produce dark vocal timbre at pussaggi Pivotal ports in the mounting scale, An exact definition of “cover” ts ol possibie, because its meaning, varies trom one technique to another. (Copertura induces a gradual modification of vowels; Deckung req more radical, sudden adjustments.) Cricothyreids: paired muscles comprised of pars recta and pars obliqua which attach to the front of the ericoid cartilage and alter the distance between the thyroid and cricoid cartilages, thereby stretching, the vocal folds longitudinally ol mugrat Deckung: carly and heavy “covering” as practiced in typically Gs and: Norche techmiques of singing Diaphragm: large muscle of the breath ratory system from the digestive system cchanism that divides the respi Hectromyography (EMG): a process for recording electrical energy gen sche activity. area: upper part of the abdominal wall covering, the nd part of the viscera, extending from the navel to cousty called the diaphragm in some pedays nv of the three single cartilages of the larynx, located between the tongue and the entrance to the larynx. External frame structure of the neck: muscular system of the neck essen- tial to establishing, axial posture; serves as the external supportive mus: culture for the stabilized larynx. Faternal oblique: abdominal muscle whose fibers form layers of the lateral walls of the abdomen; fuses with the internal oblique at the linea alba; important in the aypoggie system of breath management Fpisslottis: the rust Fach: a Cx language term meaning specific vocal cate False vocal fold: (sec ventricular fold) Falsetto: the sound made by the male voice in imitation of the female voice Fioritura: ornament, cadenza, or florid passage. Fistelstimme: (see voce finta) Flageolet: an extension of the female upper voice, with a distinctive timbre. formant: a region of the spectrum displaying strong acoustic energy Fundamental frequency: the lowest in a series of partials, by which listener perceiv ory, Gemisehte Stimme: (sce muxed voice) Glottis: space between the vocal folds, which changes with abduction and adductivn of the folds. OR eam na Digitalizado com CamScanner Dightalzado com CamScannerHarmonic partial: an oved act multiple of the vibration ral an “Hfead” voice: descriptive term for sensations experienced dur particularly in upper ranys Heldentenor: a specialist in Wa the Germanic repertory. Hypogastrium: lowest of the three median 1s divided by imaginary planes. Hz (Hertz): unit of frequency (named roles, menstly of ynerian and other hi santo which the abdomen: re a) ra German physic “placement” of the voice; a subjective Impostazione della voce (imposto): nthe singer's turmant and term to describe the harmonic balance betw energy peaks in the lower part of the sung spe Intercostal muscles: short external and internal muscl Internal oblique: abdominal muscles; they form the lateral walls of the abdomen and fuse with the external oblique to form the finea alba; in portant in the appoggio process of breath management trum S between the nity Larynx (pl. larynges): the phonatory organ Lied (pl. Lieder): the German art song, “Lifts: (see register breaks) Linea alba: a median, tendinous line that separates the nyt and dell sides of the abdominal musculature. La lotta vocale (la lutte vocale, Fr.): the vocal contest (strug; by which the inspiratory musculature offers opposition to the expiratory collapse of the breath mechanism; descriptive term for the appogio tech nique. ); technique Mélodie: the French art song, Messa di voce: sustaining a note beginning at piano dynamic scendoing to forte, then decrescendoing back to piano Mezzavoce: “half” voice; a vocal sound at piano level Middle voice: frequently used to designate the zona di passag0; b sion, to include the lower-middle and upper-middle'ranges of the voice, straddling, “chest” and “head” registers. Mixed voice: The region of the singing voice in which sensations of “chest” and “head” are simultaneously experienced; the zona di passay gio. Mucosa: mucous membrane. evel, cre exten Occipital bone: bone in lower back portion ot the skuil Onset: (I'attacco del suono; I'attucco; attack): onset of voicing, the initta ‘ound in singing. Operetta tenor: a lyric tenor with extensive range who specializes in the operetta and musical comedy literatures. Digitalizado com CamScanner Dightalzado com CamScannerwot Terms Oscillation Qwobbled: « pedagogteal term that refers to undesirably slow. and wide pitch vanations associated with vibrato, Overtone: a harmon partial higher than the fundamental Partial: (see harmon partial). Passaggio (pl. passaggid: voral re s + prtssagy70). Pelvis: the bony structure of the lower trunk Pharyne: part of the supraglottic resonator system, lying above the larynx and behind the mouth and nasal passages; comprising, the laryngophar- yns. the oropharynx, and the nasopharynx. (Popularly known’ as the throat.) Phonation: the production of vocal sound Place (Fr): (see placement). Placement: a subjective term that describes the harm duces the singer's formant. Primo passagsio: the lirst pussaggty (see pussaggio) Pubic: (sce hypoyastrium). Pyritorm (Pititorm) sinus: space between the laryngeal collar and the alae (wings) of the thyroid cartilage aster pivotal point (as in primo passaggio, nic balance that pro- Rectus abdomini: alba a long, flat muscle located on either side of the linea ad extending the length of the abdomen; it arises from the pubic crest and inserts into the cartilages of the fifth, sixth, and seventh ribs; its upper three-fourths is enclosed in the rectus sheath formed by the apo- neuroses ot the extemal and internal oblique muscles ventrally and the Internal oblique and transversus abdominis dorsally; important to the Postural coordination that produces the appoggio system. Register: a series of consceutive voice tones of equal or similar timbre, which can be distinguished from an adjoining series of tones. “Register breaks”: a pedagogical term used by some teachers to describe register demarcations (see passaggio). z : Releas. ‘nation of a sung phonation, coordinated with breath re- the new breath is the vocal release in skillful singing. Resonator tube: in singing, the buccopharyngeal cavity. at times conjoined with the nasal caval “Ring of the voice”: resonance balance in the singing voice, the result of forms and vowel tracking, : Secansia “mio: the second passaggie (see passiggio) at: a custiy energy observable in spectra in the region of "he Gin the tener vane). - h (spectrum analysis graph) 10 voiee. OC NS TE ET SR AA Digitalizado com CamScanner Dightalzado com CamScannerGlossary of Terms 159 a visual representation graphing the component parts Spectral envelope: r Ps lative in- of a harmonic spectrum, with peaks and valleys indicating rel tensities. 1 Spectrograph: an electronic device monic components of phonation. Spectrum: the sum of the acoustic factors of a sound, including, the fun- damental frequency and its component overtones. Spieltenor: a category of tenor found in the German-langu ater, similar in vocal character to the tenore leggiero but capable of a wider that measures and records the har- e opera the- range of role: “Spreading”: description of a tone that is blatant or “open”; the result of an unmodified vowel in ascending, pitch. Sternum: bone to which ribs are joined in the front of the thorax; popularly termed “the breast bone.” Important to the positioning of the chest Strohbass: a male singing register that lies below pitches normally used in speech. Subglottic: below the glottis. “Support”: voluntary 1espisatory control in singing; respiratory technique aimed at prolonging the inspiratory muscular gesture throughout much of the phonic event; the retardation of expiration through acquired con- trol exercised over muscle groups involved in inspiration and expiration (An inexact pedagogical term with a variety of meanings, some in op- position to each other.) Supraglottic: above the glottis Tendon: a band of dense, fibrous connective tissue that provides attach- ment of muscle to bone. Tenore buffo: a light tenor who specializes in comic opera roles Tenore di grazia: (see tenore leggiero). Tenore drammatico: (see tenore robusto). Tenore leggiero (tenore di grazia): a high-voiced male singer with an in- strument of sufficient size and quality to be professionally viable; his repertoire includes florid vocal writing that requires agility and grace ‘ Tenore lirico: a lyric tenor who can sing much of the standard opera literature. He must have beautiful vocal timbre and be able readily to sustain a high tessitura. Tenore lirico spinto: a large lyric instrument capable of performing rep- ertoire such as the heavy Verdi roles. Tenore robusto: the heaviest non-Wagnerian tenor voice, exhibiting ex- ceptional power and stamina. Tenorino: a high male voice of small size. Tessitura: that part of the musical compass in which most of the pitches of a melody Jie. Lhorax: the chest; upper parl of the trunk Thyroarytenoids: two muscles rising below the thyri is ing ints abv of Ue acytarWide. yroidal notch and insert- ee s Digitalizado com CamScanner Dightalzado com CamScanner100 Glossary of Terms Transverse abdominis: deep abdominal muscle, which with other abdom- inal muscles assists breath management. Tremolo: a pedagogical term that refers tu a vibrato rate too fast and too narrow (as distinct from wobble or oscillation). e » , ’ » Urkraft der Stimme: the primitive strength of the voice; part of a concept of breath damming originally advocated by Georg Armin; a popular approach to breath management among many Heldentenors, and among some Germanic teachers. Velopharyngeal: pertaining to the region of the velum and the pharynx. Velum: the muscular portion of the soft palate, Ventricles of Morgagni (sinuses of the larynx): adjustable spaces lying between the true and false vocal folds. Ventricular fold: false vocal fold, lying above the true vocal fold. Vestibule of the larynx: the part of the laryngeal cavity above the false vocal folds. Vibrato: a phenomenon of the singing voice; a pitch variant induced by the laryngeal muscles and related vocal tract areas in response to neu- rological impulses that occur when proper coordination exists between the breathing and phonatory mechanisms; a naturai result in the singing voice of dynamic balancing of skillful airflow and free function in the mechanism of phonation. Viscera: soft internal organs of the body, especially those of the trunk, such as the intestines. Vocal fold: true vocal cord (also vocal band); paired muscles of the organ of phonation (larynx). Vocal ligament: the edge of the vocal fold Vocal tract: the supraglottal resonator system. Vocalis: the internal thyroarytenoid. Voce aperta (open voice): “white,” unskillful singing, lacking in proper resonance balance. . Voce bianca (voix blanche): white voice; open timbre as opposed to voce chiusa Voce chiusa (closed voice): balanced vocal timbre, avoiding voce aperta Voce di pett (chest voice; voix poitrine; Bruststimme): descriptive term tor sensations expenenced during singing in lower range. Voce di testa: the head voice of the classic schools; a term based on reso- nance sensations during singing, not on actual resonator sources. Voce finta: feigned voice; a timbre in the upper-middle range of the male voice that reduces the voce penw qualily of the Lully “supported” voice; at times confused with falsetto Vuce media: (see middle voice). Voce mista: (see mixed voice). Voce piena in testa: full voice in “head” register (see head voice) Voix miate: (see Mixed voice), soesvesevevsevseveeseonvueusturew™~ Digitalizado com CamScanner Dightalzado com CamScannerGlossary of Terns 161 Vowel modification: gradual adjustment of vowels during the ascent of the scale so as to produce uniform timbre, resulting, in an evenly res tered voice “White voice’: (sce voce bianca) Zona di passaggio: area of the voice where a number of tones can be sung, by varying register emphases; middle voice Zygomatic arch: bony arch extending from the cheeks to the anterior sides of the skull. Zygomatic bone: a bone of the side of the face, below the eyes Zygomatic muscle: a slender band of muscle on either side of the face. which rises from the zygomatic bone and inserts into the skin at the corners of the mouth, Digitalizado com CamScanner Dightalzado com CamScannerBibliography Amatomischer Atlas (1979), ed. by Krinpotic Nemame Munich Urban fe Schwarzer bers. Cunnnghan's Manual of Practical Anatomy (W972), ed by GJ Romanes London Oxford University & Denes, Peter B.. and Pinson, Fh Biology of Spoken Language. Philadelphia fell Laburatories (Dell Put Manuel (1840), Ménoure sur la voir humarne presente a Pacadinne des 1890. Varis: B. Surverger — (1494). Hunts on Singing, transl. by Beata Garcia London Axcherber,, Hep wood and Crew Gray's Anatomy (1980), ed. by Robert Warwick and I Churchill Livingstone Jamieson, B. (1946). Mlustrations of Regional Anatomy Lowder ston Kantner, Claude E., and West, Kobert (190)), Phonetics, New York Harper € Klein, Hermann (1923). An Essay on Bel Canto. London Oxtord Univeraty Press Ladefoged, Peter (1974). Llements of Acoustic Phonetics. Chica University of Che cago Press. Lamperti, Francesco (n.d.). The Art of Singing, transl by |. ©. Griffith, New York G. Schirmer. Minifie, Fred D.; Hixon, Thomas J.; and Williams, Frederick (1973) of Speech, Hearing and Language. Englewood Chffs, New Jersey: Pr Proctor, Donald F. (1980). “Breath, the Power Source for the Vor Bulletm, Nov/Dec. Schutte,H: K. and Miller, Richard (1984). “Kesonance Balance in the Register Categories of the Singing Voice: A Spectral Analysis Study." Fola Phoniatrica. . Karger. (1985a). “Breath Management in Repeated Vocal Onset Basel: $. Karger (1985b).."Intraindividual Parameters of the Sing: atrica, Basek: S. Karger. . Stevens, Kenneth H., and Hirano, Minoru (1981) Vocal Fold Physiology. Tokyo: ‘Tokyo University Press. Titze, Ingo ¢1987). “Nasality in Vowels.” The NATS Journal, Mar/Apr (1981). “What Determines the Elastic Properties of the Vocal Folds and How Important Are they?” The NATS Bulletin, Sep/Oct. Topugraphische Anatomie (1935), ed. by Wilhelm Lubosch. Munich: J. F. Lehmanns Verlag (Springer-Verlag) van den Kyra, Janwillem (198), “Register Problems.” Sound Production i Man. Annals of the New York Academy of Sciences, ed. by A. Bouhuys, New York. New York Academy of Sciences —— (1964). “Some Physical Aspects of Voice Production,” Kescarch Potentuals im N. (1963). The Spor Cham The Physes and a) Ga f Willams, Edinburgh £5 Living, rmal Aspects ce Hall “The NATS Folia Phomiatrica. 's Formant “ Foha Phoni- 163 Digitalizado com CamScanner Dightalzado com CamScannera eeeerererere”—t—“‘_O~™~™~™~™O™COCOCOOOO 164 Bibliography Voice Physiology. ed. by David Brewer. Syracuse, NY: State University of New York Vennard, William (1967). Singing: The Mechanism and the Technique. New York: Carl Fischer ee Digitalizado com CamScanner Dightalzado com CamScannerIndex Numbers in italics refer to glossary terms A Abdominal compression, 24 distention, 24, 25, 26 movement (inward), 17 muscles, 15, 16, 18, 19, 20-23, 24, 26, 27. 37, 88 viscera, 16, 17, 20. 25 wall, 15, 16, 17, 20, 24, 25, 26, 30, 31, 32, 88, 90 Abduction, 7, 8, 27, 29, 31, 155 Acoustic analysis, 42, 77, 79, 84, 146-54 energy (strength), 41, 71, 72, 73, 74, 75, 76, 81, 120, 146. 147 Adam’s apple. See Laryngeal: promi- hence Adduction, 7, 8, 29, 31, 155 ‘Aerodynamic/myoelastic factors, 15, 24, BB aggiustamento, 39, 41, 46, 48, 49, 56, 57, 58, 155. See atso Vowel: modi fication s Agility, 87-104. 136, 137 Aida (Verdi), 12 Airflow, 3, 8, 15, 17, 19, 24, 27, 28, 32, 48, 79, 80, 125, 128, 130, 135 Alfredo (La Traviata), 11 Almaviva (I! Barbiere di S 87, 96-97, W2-4 Almaviva/Figaro duet (I Barbrere di Sivigha), 96-97, 2-4 Alveolus (alveoli), 17, 19, 155 Ain Meer (Schubert). W?-8 Anxiety. Ser Pertormance ansiety Aponeurosis, 24. 155 Appendicular badly, 24. 25 Appoxgio, 14, 16, 25, 26, 27, 28, 30, 31, 32, 37, 43, BY, 124, 155 Artadne auf Naxos (Strauss), 12 arie antiche, 132, 158 glia), 10, arrotondamento, 39, 58, 155 Articulation, 88, 126 aspirated, 87, 95 impulses, 31, 90-91, 93 legato, 95 Arturo (Lucia dé Lammermoor), 10 Aryepiglottic folds, 38, 48 Arytenoid cartilage, 7, 8, 38, 39, 48 Atmospheric pressure, 19 Axial alignment (position), 24, 25, 26, 67, 124, 125, 126 : body, 20, 24, 25 Bacchus (Ariadne auf Nos). 12 Bach, Johann Sebastian, 9. 13 Back vowels, 42. 43, 53, 54. 57, 58, 59, 74, 81, 83. $4, 123 “Bad vowel,” 83 Ballo im maschera, Un (Verdi), 12 Bartnere dt Steiglia, Ri (Rossini), 10, 87, 96-97, 102-4 Bardolte (Falstaff), U1 Baritone, 11, 12, 13, 38, 105, 130, 133-38, 159 Baroque and early music, 9, 95, 129, 132 Bartered Bride The (Smetana), 10 Boss, 105, 131, 134, 139 bel canto, 87, 93, 106, 131, 155 Bellin, Vincenzo, 10. 87, 131, 132 Beppe (I Pagiuicer), 10 Bizet, Georges, 58, 61-62 Bjoerling. jussi, 7, 148, 150, 152, 154 Body alignment. See Aaial: alignment Boheme, La (Puccini), 11, 12, 48, 50, 58, 60, 88, 89-90, 105, 152, 153 Boito, Arrigo, 109, 112 Rorts Godunov (Mussorgsky), 10 Ee Digitalizado com CamScanner Dightalzado com CamScanner166 tudes Brohins, Johannes, #8 Breath evcle, 16, 17, 25, 26. 155 emission, 14, 172.14) energy, 5, 24. 32, 43, 65, 66, 105, mo holding, 37 management (coordination), 2, 14, 15, 16, 17, 19, 25, 26, 32, 35, 37, 74, #9, WY, 124, 126, 130, 137 “natural” process, 17 renewal, 16, 26, 27, 24, 24, W, 32, WL 16 silent breath renewal, 25, 26, 27, 24M, SH, V1, 126 Bromus neh), 2 tuccal cavity, 145, See Mouth Buccopharyngeal resonator, 51, 80, AA Ms ic Cayus (Faletutf), 1 Colat (Turentoty, 12 “Call” of the voice (calling), 3, 39, 51, 78, 123, 127-25, 155 Carns iT Palaces), 12 cuntalule bravura turm, 93, 95 cantilena, 93, 155 Canzoni da camera (Belni), 132 Capriceie (Strauss), 11 Carmen (bizet), 11, 12, 58, 61, 62 Carmina Burana (Orit), 139 Caruso, bance, 13 Cassio (Otello), 10 castrate, 14 Cavailersa Rustic 1a (Mascagni), 12 Cavaradess: Tosca), 12 cavatina'cabstetia form, 93, 155 Che gelide marin (La Boheme), 48, 50, 1S2. 183-54 Cheeks. Ser Zysqmatic Chin, 20, 25, 66, 123, 125 Cielo € mar (La Gioconday, 109, 114 “Classical” singing, 74, 79 Classification. See Vocal category Clemenza di Tito, La (Mozart), 12 Closed” voice. See voce chiusa Com’e gentil (Don Pasquale), W9-111 Complete voice. See voce completa Concert pitch levels, 106 Conte. See Almaviva Contes d’ Hoffmann, Les (Offenbach), nH, 12 copertura, 99, 41, 42, 43, 46, 48, 49, 54, 55, 56, 5B, 155 Coreth, Franco, 146, 147. 148, 150 tutte (Mozart), 1) tals. See Ribs Cotogni, Antonio, 81 countertenor, 13-14, 129, 130, 156 “Covering” (“cover”), 38, 39, 41, 42, 43, 48, 49, 156 Cricoarytenoid muscles, 8 Cricoid cartilage, 6 Cricothyroid muscles, 2, 3-4, 5, 6, 7, 8, 79, 156 D Dai campi (Mefistofele), 109, 112 Dancairo (Carmen), 10 David (Die Meistersinger), 10 Deckung, 39, 156 Deller, Alfred, 13. Des Grieux (Manon), 11, 12 Di rigori (Rosenkavalier), 115, 117 phragm, 15, 16, 17, 20, 25, 26, 156 Dies Bildnis (Die Zauberflote), 32, 337 ° Differential control of muscle groups, 5-6 . Digestive system, 15 Discipline of singing, 133 “do dé pete,” 105 é Domingo, Placido, 146, 147, 149, 151, 152, 153. 154 Don Carlo (Verdi), 12 Don Giovanni (Mozart), 10; 11, 93-96 Don José (Carmen), 12 Don Pasquale (Donizetti), 10, 109-11 Digitalizado com CamScanner Digitazsdo com CamScannerno, 10, 66-70, 87, Donizetti, Gae 109-11, 132 Dramatic baritune. See Baritone Duca (Kigoletto), 1, 12, 58, 59, 139 Dynamic muscle balance (equilib- rium), 4, 8, 79, 88, 122, 125 E Ecco ridente (Il Barbiere di Srvigha), WB Electromyography (EMG), 15, 156 Elisir d'amore, L’ (Donizetti), 10, 66-70 EMG. See Electromyography Entfuhrung, Die (Mozart), 10 Epigastriciumbilical region, 25, 156 Epiglottis, 38, 39, 42, 43, 49, 156 Ernesto (Don Pasquale), 10, 67-69, 109 Esophageal pressure, 27, 28, 29, 0 Ev'ry Valley (Messiah), 95, 97-10% Exhalation. See Expiratory gesture Expiratory gesture, 15, 16, 24, 25, 37 External frame function, 79, 124, 125, 156 External intercostals, 26 External oblique, 23, 24, 26, 156 F Fach, 11, 13, 42, 43, 118, 126, 134, 139, 156- Falsetto, 3, 9, G3, 14, 42, 60-65, 67, 70, 77, 78.389. 80, 105, 106, 120- 131, 156 eg reinforced. Falstaff (Verdi), 11 Faust (Faust), 12> Feigned voice See tece finta Fenton (Die lusggen Weiber von Wind- sor), 10 Ferrando (Cosi fan tutte), 11 Fidelio (Beethoven), 10, 12 fioritura, 93, 156 Fistelstimme. 65, 156 Flageolet, 106, 156 Flamand (Capreecto), 1 “Fupping over.” 43 Florestan (Fidelio), 12 Inder 167° Flotow, Friedrich, 10%, 11% “Focus,” 72 Forchcad, 71 Formant(s), 40, 41, 43, 44, 44, 72, 79 74, 75, WO, 128, V4, 156. See alse Singer's formant first, 43, 45, 72, 73. 74, 75 fourth and filth, 74 middle, 75 second, 43, 45, 74 third, 43. 45, 73 vowel, 43-45. 44. 57, 72. Forte singing, 65, 66, 64 “Forward placement.” 72, 44. 115, 120 Frequency. See Fundamer quency Frimt, Rudolf, 11 Front vowels. 42, 43. 51, 52. 53. 34 57, 5B, 5Y. 76, SI. BS. BE I “Frontal resonance.” 11K Frontal sinuses, 71, 120 Full voice. See voce prena im testa Fundamental frequency, 4, 43. 44, 45, 71, 74, 75, 78, 80, 146, 156 G Garcia, Manuel. 1, 129 Germanic/Nordic school, 38, 39, 122 Gherardo (Gummi Schiccht), 11 Giant Sehiechs (Puccins), 11 igh, Beniamino, 13 Gilda/Duca duet (Rigoletto), 58 gitssando, 147 : Glottis, 2, 7, 8, 24, 27, 29, 31, 32, 43, 64, 122, 127. 156 gola aperta, 122 Goro (Madama Butterfly), 11 Gotterdimmerung. Die (Wagner), 12 Guillot (Manon), 11 H Handel, George Frederick, 11, 45-47, 95, 96, 97-102, 152 Hard palate, 84 Harmonic partials), 39, 40, 4. 42 Digitalizado com CamScanner Dightalzado com CamScannereevvevveuvuuuuvsevegeuwuwwvwwvwwvwwrw errr TOS nde Harmc als) (Cont'd ) 43, 49, 71, 75, 127, 146, 147, 152, 157 Head, 20, 24, 25, 26, 66, 67, #4, 85, 121, 123, 124, 125, 128 Head” vorce, 3, 7, 9, 14, 49, 60, 64, 64, 70, 71, 74, HH 84, 105, 121, 23, 125, 129, 1.15, 157. See also pore di festa and wee prena int testa Health (aspects of in singing, 13, 37, 49, 63, 88, 122, 126, 127, 128, oI Heldenbariton, 13 Heldentenor, 12, 13, 78, 138, 157 Helmholtz frequency designations, 7 Herman (Pique Dane), 12 Herm baritone See Helde Heron te ibariton See Heldentenor High C* (Cy), 105, 106, 152, 153, 154 High vowels, 49, 52, 53, 58 Hotimann (Les Contes d’Hoffmann), 12 Hooking in,” 5, 39, 43 Hyon bon Hypogastric region, 25, 157 11 mic tesoro (Don Giovannt), 93-96 (Fimpostazione della voce), 75, ), 58, 63, 112, 115, mgolate 10 Inhalation See Inspiratory (inhala tory) gesture Inspiratory (inhalatory) gesture, 15, 16, 17, 25, 26, 27, 30, 31, 32, 39, ” intercostal muscles, 15, 17, 24, 26, 31 i Internalexternal muscular contact 26. See also appogern Internal laryngeal muscles. 5. 32, 71. See aiso Laryngeal: action Internal oblique, 23, 24, 26. 157 International Phonetic Alphabet, 152 14-43 International school of vocalism, 39, 43, 76, 79, 109, 147 Interosseus internal intercostals, 17 Intrapleural pressure, 16 Intrathoracic pressure, 17 IPA, See International Phonetic Al- phabet Insh tenor, 9 Italian school. Ser International school of vocalism Italian Singer. See Sanger J Jacquino (Fidetio), 10 Jaw, 42, 51, 72, 84, 120, 121-23, 12 125 K Klein, Herman, 3 Kwodel, 10 L La donna & mobile (Rigoletto), 146-49 La fleur (Carmen), 98, 61-62 Lage. See tessitura Lamperti, Francesco, 65 Laryngeal action, 2, 14, 32, 37, 41, 43, 64, 72, 79, 127, 129, 135 collar, 38 configuration, 41, 43, 80, 118 depressor muscles, 79, 126 elevator muscles, 79 instability, 123-26 positioning, 28, 38, 66, 67, 79, 122, 123, 125 prominence, 9, 125, 134 sinuses (ventricles), 39 structure, 1, 106 ventricles. See sinuses vestbule. Sce Vestibule of the lar- Laryngopharynx, 39 Laryngoscope, 42 Digitalizado com CamScanner Dightalzado com CamScannerLarynx, 2, 14, 25, 2%, 38, 39, 42, 43, 47, 66, 71, 72, 75, 80, 122, 123, 125, 126, 157 Late teenage tenor, 69, 131, 132 Laughter, 34, 8%, 90, 91 Legato, 90, 91,95, 121, 128, 152 leguiero, See tenore leggrero Legitimate head voice. See eae piena in testa Lehar, Franz, 1 Let the Deep Bowl (Belshazzar), Ho, V2 Lied (Lieder), V1, U7, ¥32, 157 “Laft(s),”” 2, 3, 135, 157 * linea atha, 24, 157 Lips, 39, 4%, 97, 71, 72 irico. See tenore tino Lirico spinto. See spinto and tenore Irrico spinto Literature (repertory). 1, 13, 37, 56. 65, 87, 48, 93, 106, 107, 122. 129. 131, 152, 138, 159 Local effort, 78 Lohengrin (Lohengrin), 12, 126 Lortzing, Gustav, 1 fotta vite, la (ia tutte innate, Fr), 25. 26, 37, 157 Low vowels, 49, 52, 53, 58, 83 Lucia di Lammermoor (Donizetti), 10 Lung, 2, 17, 19, 20, 24, 27, 32 pressure, 19 recoil, 16 volume. 17, 25, 26, 32. 37 Lustigen Weiber von Windsor. Die °. (Nicolai), 10 M Madama Butterfly (Puccini), 12 Manon (Massenet), 1 Manrico (Il Trevatore), 12 7 Manubrium, 17 E_ Marcello (La Boheme), 105 * Marking. 65. 129 Marta, Marte (Martha). 113 Martha (Flatow), 109, 113. “Masque. in the.” 120 Mastoids, 125 = Mefistofele (Boito), 109 _Meistersinger. Die (Wagner). 10, Inter 169 melodie WN Messiah (Haretel), 9, 9710 meczmioe 5, 67, 64, 157 meceayuno, OB Midetimwonce, 157. See voce me Millester, Karl, 1D Mimi fa Keheme), 15, 106 Mirrors duse of), 120, 125 “Mined” vence, 3, 157 Mauer." 4, 5 Modification See Vowel sno Monysiats (Die Zaubertiote), 1 mortigriza, 9 Morphology. 42, 106, 126, VA Muuth, 34, 40,41, 43, 45. 45, 94, 51 7, 70, 72, 3, 8, WO, 1B, Va, 28. 29 Mang Arvadeus. 10. 34 hy, V3), V2 N Nasal consonants (continuants), St So, 0-91, 135, 136 asabity. 5. 120-21 Neck#ty 18.20. 24. US, 125, 128 Neckte tenor,” 123 Nev evel bgt (La Boheme), 5-90 Nemonino (L Elis diamores, 2 Nessun dorma (Turandot), 147 Nobleepesition 16. 20. 25.26, 88. 134, 125, Noise, 19, 63. 75, 126 Nose igustnis), 71, 86, 121 oO Viguuperternus abdoneinis See Exter- tique odugsmpaeterius abtomenis Sec Inter EES Migue Oc tone, 125. 157 Onreedch facques. 11 Digitalizado com CamScanner Dightalzado com CamScanner170 index Onset. 26, 27, 28. 29, 30, 31, 33. 61, 63. 64,88, 121, 122, 123, 126, 129, 157 Open’ singing Ser voce aperta ‘Opening the throat,"" 122 Operetta tenor, 11, 157 Otello (Otello), 10, 12, 126 Ottavie (Dom Giovanni), 10, 11 Oversinging, 128 Overtone senes, 71, 80, 158 Pr Pagtacet, 1(Leoncavallo), 12, 139 Papting. 90 Parsital (Wagner), 12 Parhals See Harmonic partial(s) Passage zone. See zona di pussaggio russagem Qussigen), 12.3, 4, 6,9, 10,1, 12.13, 38, 41, 42, 49, 51, 56. 57, 4, 67, 105, 137, 138, 158 promo. 3, 9, 43, 51, 52, 53, 54, 58, 65. 79. 80. 81, 84, 95, 105, 127, 130, 135, 136, 137, 158 40, 3, 9, 42, 45, 46, 49, 54, 55, 57, 38. 61, 63, 66, 67, B4, 95, 105, 134, 135. 136, 137, 158 sona di, 3, 6, 9, 27, 38, 39, 42, 46, 48, 49, 53, 55, 56, 58, 59, 61, 62, 4. 65, 67, 69, 70, 80, 85, 96, 107, 109. 113, 118, 134, 135, 136, 161 Pavarotts, Luciano, 147, 149, 151, 152 153, 154 Pectorals, 26 Pednilto (Die Enfahrung aus dem Sera), 10 Pelvis, 24, 25, 158 Performance amaiety, 138-40 Pharyngeal adjustment. 41, 47, 120 wall spreading, 10, 38, 39, 88, 122, 1 Pharvnx. 47. 51, 71, 72, 118, 120, 158 Phonetic process, 10, 72, 124 Phrase shaping (direction), 128 Physical structure. See Morphology Piano singing, 65, 66, 68, 69 Ping,” 72 Pinkerton (Madama Butterfly), 11, 12 Pique Dame (Tschaikowsky), 12 Piriform sinuses, 39, 71, 158 place (Ft.), 75, 158 “Placement,” 71, 75, 158 Ponchielli, Amulcare, 114 Posture. See Axial: alignment Pressed phonation, 30), 63, 105, 122, 130 Proctor, Donald F., 3 Propriceptive response, 1, 5, 15, 43, 49, 74, 84, 128 Psychology of singing tenor, 138-40 Puberty, 131 Pubic region. See Hypogastrie region Puceim, Giacomo, 50, 58, 60, 88, 89- 90, 105, 106 Purcell, Henry, 132 “Pushed”* production, 78, 128, 130 R Radames (Aida), 12 Radiographic studies, 37 Rake's Progress. The (Stravinsky), 11 “Real tenor,” 130 Rectus abdominis, 24, 26, 158 Rectus sheath, 24 Register, 1, 2, 7, 8, 15. 51, 79, 158 breaks, 2, 3. 4. 158 falsetto. See Falsetto modal, 129 pivotal (demarcation) points, 1, 2, 3, 9, 38, 49, 54, 55, 59, 64, 81, 105, 134 voce di petto. See “Chest” voice woe di testa. See “Head” voice voce mista, See “Mixed” voice Registration events. Sce Register piv- otal points 9 “Relaxation” during singing, 26, 121, 12 Release, 26, 27, 32, 196, 158 Remendado (Carmen), 11 Repertoine. See Literature Requiem (Verdi), 6, 112-13, 115, 116 Resonance, 71-86 balance (adjustment), 40, 54, 66, 74, 75, 107, 109, 121, 123, 124, 147 izado com CamScanner Dightalzado com CamScannerResonance (Cont'd) tract (tube), 341, 43, 49, 71, 72, 18, 119, 123, 134, 158 Resonators, 2, 14, 71, 80, 107, 118, 119, 120, 135, 137 Respiratory cycle. See Breath: cycle Ribs), 22 cage, 16, 17. 20, 24, 25, 31, 90. See also Thorax cartilage of, 24 expansion of, 17 Riccardo (Un ballo in mascheray, 12 Rigoletto (Verdi), 11, 58, 59, 139, 14649 “Ring,” 72, 78, 84, 120, 158 Rinuccio (Gianni Schicchi), 11 robusto. See tenor robusto Rodolfo (La Boheme), I, 12, 48, 58, 60, 88, 89-90, 105, 126, 152, 153 Romberg, Sigmund, 17 Rosenkavalier, Der (Strauss), 11, 115, 7 Rossini, Gioacchino, 10, 87, 96-97, 102-4, 132 Ss Samson (Samson), 45-47 Samson (Samson et Dalila), 12 Sanger (Der Rosenkavalier), 11, 115, 7 Sausage syndrome, 128 Scale equalization, 1, 3, 8, 39, 45, 49, 51, 58, 79, 80, 125, 137 Schouisky (Boris Godunov), 10 Schubert, Franz, 107, 108 Schumann, Robert. 46, 48 Sensation in singing, 2, 43, 49, 71, 79, 120, 121 Shoulders, 25 Shouting. See “Call” of the voice Si canta come si parla, 51,7? Siegtried (Gotterdammerung), 12 Stegmund (ie Watkure), 12 Sighing, 121-23 Singer's formant, 42, 49, 57. 72. 74, 75, 76, 77, 78, 80, 81, 84, 120, 145, 146, 147, 158 Sitz (Gr.), 75, 158 vw Indew Smetana. Bednich. 10 Soft palate See Velum Sonagram. See Spectrum, 154 Soprano, 105, 106, 131 coloratura, 38, 139 dramatic, 38 soubrette, 10, 153 Sostenuto, 88, 93. 96, 107, 12 Soubrette. See Soprano Sound intensity, 27, 29. 32 Speaking voice. 16, 17, 43. 45, 51. 76 119, 122, 123, 130, 135. See also Speech Spectral analysis. 71. 72, 73, 74. 75. 76, 7. 78, 80. 81.119, 121, 128, 138 145-4 Spectrum (spectra), 39. 57.71, 74. 75. 76, 77. 81.119, 120.127, 1H. 159 Specch, 16, 17, 24. 26.43. 45, 48 97 72, 74.118. 123, 130 inflection range. 2. 3. S162. 75. 127, 135 Sphuncteral action, 127 Spieltenor, 10, 159 Spinal muscles, 20 spinto complex, 122, 12% lirco spinto oletta (Tosca), 1 spreading.” M8. 159 Stage whisper, 150 Sternum, 2 16, 17, 20. 24. 25, 26. 31, 159 Straight tone, 128 Strauss, Johann, 11 Strauss, Richard. 88, 113, 15, 07 Structural support. See Avial. align- ment Subglottic, 159 pressure, 2, 3, 8, 15, 27, 28. 29, 30, 32. 46, 48, 66, 79, 80, 105, 127, 128 Support,” 15, 26, 128, 135, 159 See tenore Supraglottic region, 8, 27, 39, 47, 51. 118, 158 resonation 80, 120 Swallowing, Sympathetic vibration, 2, 49, 85, 120, fra] Synergistic muscular action, 37 izado com CamScanner Dightalzado com CamScanner172 Inter T Tamine (Die Zaubertlote), 11, 33-37 Tannhauser (Tunnluluser), 12 Tape recorder, 121 Teeth, 123, 124 tenore buffo, 10, 159 tenore ui grazia, 159. See lenore leggiero tenore drammatico, 159. See tenore ro- busto: . tenore leggiero, 9, 10, 65,87, 88, 106, 127, 132, 159 tenore lirico, 4, 6, V1, 12, 43, 48; 64, 74, 75, 76, 77, 80, 106, 126, 127, sy tenore lirico spinto, 12, 13, 45, 46, 47, 75, 109, 126, 127, 146, 159 tenore robusto, 12, 13, 78, 126, 137, 159 tenorino, 9, 65, 131, 159 tessitura, 11, 33, 49, 56, 105-17, 132, 134, 138, 139, 159 Thorax, 2, 15, 17, 18, 19, 20-23, 24, 25, 27, 31, 37, 78, 88, 125, 159 ‘Thyroarytenoid muscles, 3, 7, 8, 159 ‘Thyroid cartilage, 7, 125 Timbre, 2, 3, 5, 9, 10, 12, 42, 44, 46, 47, 55, 57, 58, 62, 63, 64, 65, 67, 71, 76, 77, 79, 80, 84, 86, 87, 107, 118, 120, 121, 122, 123, 126, 127, 128, 129, 130, 133, 134, 136, 140, 145, 146, 152 Tito (La Clemenza di Tito), 12 Titze, Ingo, 5, 120 Tor Rakewell (The Rake's Progress), ay . Tongue, 39, 42, 43, 48, 57, 72, 84, 120, 123, 124 Tongue / hyoid bone/ larynx mecha- nism, 123 Torso, 15, 16, 17, 19, 20, 22, 24, 25, 26, 88, 124, 125 5 Tosca (Puccini), 11, 12 Total Eclipse (Samson), 45-47 Trachea, 2, 27 Transversus abdominis, 20, 23, 24, 26, 160 Traviata, La (Verdi), 11 Tristan (Tristan und Isolde), 12 ft (Verdi), 12 Trunk, 24, 26, 27 Turandot (Wuccini), 12, 147, 150-51 Turiddu (Cavalleria Rusticana), 12 U UmbiticaVepigastric impulses, 26 Una furtiva tagrini (L'Elisir d'amore), 66-70 . Undersinging, 70, 128 Unified scale. See Scale equalization Uniform muscle group control, 5 Urkroft der Stimme, 127, 160 U.S.A. Standards Association sys« tem, 6 Vv Vatek (The Bartered Bride). 10 Valzacchi (Der Rosenkavalier), 1 van den Berg, Janwillem, 2, 7 Velopharyngeal action, 71, 121, 160 Velum, 72, 84, 86, 121, 122, 160 region of the, 39, 96, 121 Vennard, William, 2 Ventricles ‘of Morgagni. See also Laryngeal: sinuses, 71, 160 of the larynx, 71, 160 Ventricular folds. See Vocal folds: false Verdi, Giuseppe, 12, 58, 63, 88, 106, 132 verismia, 12, 88, 152 Vestibule of the larynx, 39, 48, 49, 71, 160 Vibrancy, 31, 32, 44, 49, 126, 135, 147, 152. See also Vibrato Vibrato, 27, 32, 42, 44, 75, 80, 121. 127, 145, 146, 147. 160 neurological impulses of, 32 Vibrator, 14, 15, 79, 107, 137. See also Larynx Vibratory sensation. Sec Sympathetic vibration Video camera, 120, 121 ceva, 160. See Abxiominal: viscera Digitalizado com CamScanner Dightalzado com CamScanner| Vocal bands, See Vocal folds | Vocal category, 9-14, 75, 133, 134, 138 Vocal contest. See lotta voeale, la Vocal cords. See Vocal folds Vocal efficiency, 79 Vocal (s). 3, 8, 14, 27, 28, 31, 37, 43, 46, 48, 71, 79, 129, 160 body, 5, 6 | Sionure (approximation), 26 64, 66, | 66, 127, 128, 130 cover, 4, 5, 6 | elongation, 2, 3, 4, 6, 7, 64, 127, | 129 | false, 71, 156 isometne contraction, 79 ligament, 4, 7-8, 160 | longitudinal tension, 79 medial compzession, 79 mucosa, 4 tension, 3, 4, & tissues, 4, 5 transition mate tue, 71 Vocal gingerbread, 128 | Vocal quality. See Timbre Vocal tract, 1. 14, 41, 43, 66-67, 7 72, 75, 80, 120, 122, 123, 147 Vocal velocity. See Agility | Vocalis muscle, 4, 5, 7, 8, 48, 79, 127, 160 once aperta, 39, 41, 45, 46, 49. 84, 118, 160 voce bianca, 41, 160 oce chiusa, 39, 42, 43, 160 voce completa, 63, 66, 67, 105, 106, t 131, 14 voce coperta, See copertura voce di petto, 2,9, 77, 78, 79, 160 voce di testa, 9, 61, 67, 77, 79, 80, 160 Sev also “Head” voice ruce pinta, 65-70, 77, 78. 79. 80, 123, 160 twee metia, 3, 38, 43, 45, 46, 58. 80, 95, 107, 109, 113, 28, 129, 160 mista, 3, 68, 70, 77,79 80129 131, 160. See also owe medi al, 4,5 ! inden 473 imee pena in testa, 3,9, 14,55, 56, 6, 2, 63, (4, 65, 66, 68, 70, 77, 79, HO, 129, EXO, 191, 136, 160. See also “Heal” vorce twix blanche See voce buona ors mute. See “Mixed” voice Vowel(s) adjustment, Ser agginstomento changing, of, 30, 82, 41, 43, 49, 53, 54, 56, 57. 65, 74, 84, 119-20 differentiation (definition), 39, 42, 49, 51, 92, 74, 75, SI. 120, 123, 124, 145, 147 integnity. See Differentiation migration, 39, 41, 45 moditicabion, 15, 38-70, 72, 81, 118, 120, 124, 137, 167 ageiustaments neutralizati alse rounding, See tracking, 14. 41, 31, 80, BIS, 14 w Wagner, Richard. 12, 1% Walidesgesprach (Schuman "i Walkure, Dic (Wagner). i Walther (Die Me White vore, Tel. See Windpipe. See Trache: Woaty ang, Wrisberg, cartilages, of 9 Y Yawning, as a pedagogical device 11-23 te (Mozart), WW, 11, 38 Zygomatic region 39, 48, $4 120. Digitalizado com CamScanner Dightalzado com CamScanner