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    Aidan Thomas Phillips
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    Jeanie Chapman Vocal Exercises

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    Jeanie Chapman Vocal Exercises

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    23 views9 pages

    Chapman - Vocalizes

    Uploaded by

    Aidan Thomas Phillips
    Jeanie Chapman Vocal Exercises

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 9
    coou Eas mm FAR ao Sain: HoT xc ft MEET ORIGINAL | ees cAR @ @ 4 Prise [Bente Bel Bear ; r ct = = SE en StS AA RE CS S is _ SRA ES A iu TEA OU oe aeons fet a Rouse] Browne, eae) Broke Tonerese & Lo AETEAO U 2 or TEAOUCAE T TeEAOUOAES s orem we om A— E— |= a O-—- A ecg ee AS Oe m— s—A—o—u = ‘J SoacreAouoARZEas & ow TEACUCAETEACUCAE LT a CAE TEAC USCAETEAS DiAcucsiteacucact Io A—E&— I- 6-A-—G= Cf ee Oo MITE Con SoNAATS oAETEAS U TEAOUCAE I rea EAQUEAE Feaoucs grees aa NOINaAEE: YoU CN. 6 <= ‘ (TALDO Down WeRos) MD ees oy oh GH = ue [aay Ayo Say RD ATR) WA ae SS S552S= = a A BA anew s 2522,ba, da gho“He Zhe I rene TT ST arectareciae = Fie Teun Voneus * fee alae ies je ae, et eee ee eee wa wT co oe OT JW ow Speah {inl — then sing i * ‘ + * + Wem: ab rane Put index finger In beck of op front teeth et the rest of the finger touch the chin, this reminds the chin and jaw to relax. Se Lift top moters as you inhale. = > a yl a 7 a ¢ w kb @ & of —N ah Put 2 fingers on chin, press in and inhale, r Feel rib cage Telease + expand ts you in baie. Drop Jaw slightly beck, not down. use tongue only, no Jaw movement Ry Index flagers at sides of earch raat mouth, press lnc lahale site tlnklng of wnling mete ~ back of throet, tongue forward and free. ‘Whh one band on chest & one on lower abdom muscles b a cs s ~ feet contraction of absom. and trust of eben, x a $e entaward couuscton of in sbdom, Seach x iabeae | a ee hel Teel ‘ Ge-ahee.ah cevaleah ec_ah ngyeebavecngyeengyes ngyee Ta T 2 i a ia 1 @ x nayesheyphgyayheyohngyu A SEU ITER OUTLINE FOR TECHNIQUES OF SINGING BETTY JEANNE CHIPMAN W YOUR VOICE..To maintain good vocal health it is important that you knew the right voice classification in singing voice and that you speak at the optimimum pitch level that is right for your voice. One good way to find this level is to put your hands over your ears, hum in a gliding ascending and descending ; pattern, where you feel an increase of the vibration and buzz is about the pitch where you should speak. Also, speak the — affirmative, ‘uh huh’, this will usually be said at the right level for speaking. In addition to speaking in a well modulated tone, care must be taken to use good breath energy and resonance when’ speaking. POSTURE. .Every misical instrument must be played with the right balanced posture. Since singing involves the entire body, it is imperative that we assume the correct posture which is free of tension and has the right relationship between the head, neck and torso. One good way to find the right posture is to put your arms above your head, reach and stretch up, lower your arms to your side keeping your body in the same position, without tension. Keep your sternum high and rib cage buoyantly expanded ‘The vocal mechanism must also be in a balanced, free posture which can be accomplished with the proper inhalation BREATH. ._ (Preparation) . Breathe quietly through open throat and nose, inhale on an imploded 'k’, this will open the entire voccL tract. Prepare your throat for singing each time you inhale, proper breath causes the support mechanism and vocal cords to be brought into action simitaneously. Think of taking the breces Deroy the laryox. When you inhale properly, the gloteis opens allowing the full release and expansion of the throat, To forte correctly think of taking the breath quietly, ‘in’ downs suf ‘out’, with a slight lift from beginning a yawn, this causes th. down freely, and'there is a gentle liftin, throat as the soft palate rises. expand around the middie. epigastrium area release as remain comfortably high and Ror descend with exhalation. e throat to open, the jaw drops ig of the top of the As you inhale, the body will One should feel the rib case ind it expands. The scermus ws should neithe: Watatse te BREATH (management). .Most edagogues prefe fanagenent’ ‘or ‘breath control’: The meceiee ee ee x rise with inhalation S Ps RERpINRERRCERIES OR: ee gE ing and sustaining power of ones voice is equal to the eneteriee the singers compressed breath. The muscular action of the body should be an energizing of the lower abdominal miscles and the area at the sides just between the rib cage and hip i there is also a slight thrust of the sternum. To feel thi sensation, put one hand on the chest and one on the low : abdominal area, cough or laugh and feel the natural action a these muscles. Speak NOW-NOW-NOW as many times as you can on one breath This combined action is what-is meant by the Italian wor ‘appoggio'. When you sing, you are not conscious of the abdominal muscles pulling in, the effort of singing activates them. When the sternum is high, the rib cage can remain expanded and buoyant. when the sternum falls, the pectoral muscles fall, the rib cage goes in and the diaphragm goes back up. We should stay as long as possible in the inhaling position. To quote Lamperti again, "The muscles of inhalation are in constant struggle against the muscles of exhalation and in singing the muscles of inhalation must win.” RESONANCE, I prefer to use the term resonators rather than registers. We have ONE voice, TWO mechanisms, (light and heavy) and THREE resonators, which involve the entire compass of the pharynx from the laryngeal area to the top of the nasal pharynx. The transitions in the voice are caused by the voice going from one resonance to another. The smooth transition over both the first and second passoggio is possible by having a balanced Posture of the vocal mechanism and the right breath compression to give it the energy or momentum to soar upward. This transition should never be referred to as the ‘break’, if the adjustment of the larynx and muscles of the vocal tract are tight, the cords might feel as if they could ‘break’, but to call it a ‘break’ could actually cause these muscles to tighten Mental imagery is all important since we sing with the mind DICTION. Good diction and articulation are an i of beautiful singing, not onl susccstaateren y do they make the words and of the song understandable, but, 7 5 they are part of a reliable technique of singing. Giving the proj consonants is it proper shape to the vowels and 0 is imperative to good singing. If you try to sing on (a) Yowel with [ul lips, or an [a] vowel with an [i] tongue the Vowels would be so distorted that the words would not be voue) arable; The integrity of the vowel phoneme (to keep the oyel shape or configuration throughout the tone) must be ret GRRE eae nencura SiouNoni thes avilable Mercia cease ars gene iE Will lose its identity. closed vowels 1 high vo: i Consonants are a very eet bieie cee ulation. They ‘door way to the When the voice is free of re tension and the body are in pr Vibvant ay Proper balance, the tone wil vocal mechanism and

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