Vocal technique
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Vocal technique Presentation Transcript

  • 1. VVOCAL TECHNIQUE
  • 2. POSTURE 1) Stand Straight Standing straight will help you breath as much air as you can because your lungs will have the maximum space for air which is very important for breathing.
  • 3. The proper posture for singers involves standing so their back, neck and head are straight; focusing their weight on the heels or balls of their feet; and situating their body into a comfortable position. Poor singing posture could lead to many bad effects. Poor singing posture -- in which the body is slouched over -- can tighten the stomach and cramp the lungs so that the body cannot smoothly inhale and exhale breaths of air. This restricts the airflow and inhibits a person's ability to use the diaphragm to sing.
  • 4. Hitting Notes For singers to hit the correct notes and strike the right melodies, they must stand with good posture so the body is straight, the limbs are comfortable and the lungs and diaphragm are free to stretch and breath. When the diaphragm is tightened by poor posture, the voice might miss notes or hit the wrong notes during melodies. Inadequate postures can also impair a singer's ability to strike very high notes that are difficult to reach.
  • 5. Power The strength and power of a voice depend largely on posture. Tilting the body back and forth, positioning it at an awkward angle or slouching the back can all muffle resonance. In turn, even when a singer using poor posture hits the correct notes, the notes and melodies might have a relatively weak sound, soft volume and low resonance. Furthermore, bad posture can inhibit a singer's ability to hold notes for long periods of time.
  • 6. 2) Stand tall and stand wide Standing tall means standing thinking that you are I inch taller than your real height. Standing tall will pull the lungs upward giving more room for air that you breath. Standing wide means you should feel free t o move at your sides. Have an illusion of “wideness.”
  • 7. The shoulders should be back, the chin should be level with the floor or higher to make it easier for the air to travel from and to the mouth. The head should be at a comfortable speaking position. It is important to maintain proper chin posture when singing very low or very high notes. The chin that is comfortably positioned will ensure that the jaws remain properly aligned for the best vocal training. This is singing with an open throat.
  • 8. The shoulders should be held back down and the chest held high but not in a strained position. When singing the shoulders should not go up and down but it is the abdomen that expands and relaxes.
  • 9. Abdomen should be flat and firm, held in an expandable position. The diaphragm is a large muscle sheath that stretches across the bottom of the rib-cage, nearly cutting the body in half, separating the lower organs from the heart and lungs. During normal breathing, the diaphragm naturally flexes (or flattens) and contracts drawing air in and out of the lungs.
  • 10. Supporting the voice” and “singing from the diaphragm” means flattening the diaphragm more deeply than during normal breathing and maintaining the diaphragm in that flattened position to control the release of air and the air pressure that streams across the vocal cords for phonation. To sing better, a vocalist must learn to preserve a reservoir of air in the lungs that supports and holds up a small amount of air released across the vocal cords.
  • 11. When breathing inhale just enough air. If you inhale too much air, the other organs will stiffen depriving the muscles of elasticity. Inhale just as much air to a comfortable degree. What is important is not how much air you inhale but how you emit the smallest possible amount of breath. Fill your lungs with breath. You will feel your ribcage expand. Your shoulders should not rise. Raise your chest comfortably high and force the breath against it and hold it fast there.
  • 12. Raise your palate high and prevent the escape of the air through the nose. The diaphragm beneath reacts against it and it furnishes pressure from the abdomen. Chest, palate, the closed epiglottis and the raised palate all form a supply chamber for the breath. Only in this way is the breath under control of the singer, through the pressure against the chest tension muscles. From now on the breath must be emitted from the breath supply sparingly. but with uniformity and strength, without once being held back to the vocal cords, which will further regulate it as far as possible. The more directly the breath pressure is exerted against the chest, the less breath flows through the vocal cords and they are less overburdened.
  • 13. • Thus, in shaping the passage for the breath, the larynx, tongue, and palate, which can be placed at will, are employed. The vocal cords, which can best be imagined as inner lips, we have under control neither as beginners nor as artists. We do not feel them. We first become conscious of them through the controlling apparatus of the breath, which teaches us to spare them, by emitting breath through them in the least possible quantity and of even pressure, whereby a steady tone can be produced. I even maintain that all is won, when we regard them directly as the breath regulators, and re- lieve them of all overwork through the controlling apparatus of the chest-muscle tension. • Through the form prepared by the larynx, tongue, and palate, we can direct the breath, previously under control and regulation, toward the particular resonating surfaces on the palate, or in the cavities of the head, • • which are suitable to each tone. This rule remains the same for all voices. • As soon as the breath leaves the larynx, it is divided. (Previously, in inhalation, a similar thing happens; but this does not concern us immediately, and I prefer to direct the singer's chief attention to the second occurrence.) One part may press toward the palate, the other toward the cavities of the head. The division of the breath occurs regularly, from the deepest bass to the highest tenor or soprano, step for step, vibration for vibration, without regard to sex or individuality. Only the differing size or strength of the vocal organs through which the breath flows, the breathing apparatus, or the skill with which they are used, are different in different individuals. The seat of the breath, the law of its division, as well as the resonating surfaces, are always the same and are differentiated at most through difference of habit. •
  • 14. If you raise your soft palate, you're opening up your throat. Try it out, and you'll feel your throat opening wider. This allows more air passage, and for more complex notes to come out. It also helps with the development of louder and stronger notes, with the help of breath control, and it helps maintain the "round" sound you're supposed to work towards, which makes you sound more rich and full. This can't hurt you at all, if you're singing relaxed and just opening up. In fact, it's just about the best thing you can do for your voice and feels really great, like a good run in the morning. Raise your eyebrows when you sing. It's not so you look alive, it's because if you raise your eyebrows it pulls your throat muscles higher. Work on your breath techniques to control how much breath you are letting out.
  • 15. Position of the feet: The feet should be shoulder level. The feet should not be close to each other because the person will be swaying back and forth to maintain balance. The feet should be slightly apart and one foot should be a little forward to ensure perfect balance.
  • 16. Position of the arms and hands: In choral singing the hands just dangle freely at the sides. However in solo singing, the hands are used for expression and emphasis.
  • 17. Position of the Mouth: Do not pronounce vowels in singing like in speaking. Position the mouth in a oval shape. Do not tense the jaw or the tongue. Drop your jaw freely and do not try to control it. It is important to keep these areas relaxed. This will give you a smooth and rich tone with tension. Before the sounds are released into the air, it bounces back and forth on the walls of the mouth giving it a richer more beautiful tone.
  • 18. Position of the Neck The neck should be totally relaxed. No muscles should be strained. The neck is strained when the person is not breathing and singing properly. When there is no support from the diaphragm the neck does it all.
  • 19. THREE DIVISIONS OF BREATH 1) Chest Voice of Chest Tone By raising the pillars of the fauces, (The passage from the back of the mouth to the pharynx, bounded by the soft palate, the base of the tongue, and the palatine arches)which closes off the throat from the cavities of the head, the chest voice is produced; that is, the lowest range of all kinds of voices. This occurs when the main stream of breath, spreading over against the high-arched palate, completely utilizes all its resonating surfaces. This is the palatal resonance, in which there is the most power
  • 20. 2) Head Voice or Head Tone • When the soft palate is raised high behind the nose, the pillars of the fauces are lowered, and this frees the way for the main stream of breath to the head cavities. This now is poured out, filling the nose, forehead, and head cavities. This makes the head tone. Called head tone in women, falsetto in men, it is the highest range of all classes of voices, the resonance of the head cavities
  • 21. 3) Medium Range • Between these two extreme functions of the palate and breath, one stream of breath gives some of its force to the other; and when equally divided they form the medium range of all classes of voices
  • 22. RESONANCE • The beautiful singer recognizes these resonances as a fragile buzzing sensation behind the chest. The Italians call it appoggio, or "breath leaning against the chest." It feels like the drone of a tiny bagpipe playing at a single continuous pitch underneath all of the other pitches being sung. It is very subtle, which probably explains why it has eluded both scientific probing and open pedagogical discussion. Teachers have called the rare students who had it by nature"talented" and have done their best with the rest of the students. Titze's tracheally resonant Pavarobotti has opened discussion that will change the way we teach singing. From now on, if it doesn't come by talent, we'll put it there with physics.
  • 23. SINGING LONG NOTES When singing long notes, your body should be as still as possible. Make no unnecessary movements. The eyes should be focused on only one object. The more “statue- like” you can become, the more stable your voice will be
  • 24. SINGING LONG AND HIGH NOTES When singing long and high notes in the middle voice and head voice, make sure you take in a deep breath before you hit a long note. Make sure the diaphragm is in the right position. The mouth is open wide for vowel sounds, the chin should be tilted, usually the hands should be raised. It helps to maintain the voice.
  • 25. DETAILS OF THE BREATHING MECHANISM 1) Draw air into the diaphragm and the abdomen 2) Hold the breath with the aid of the ribs, hold the breath against the chest 3) Maximize the air coming in, you should feel your chest expand, the back and sides filling up with air too 4) Raise the palate high and prevent the escape of the breath through the nose
  • 26. 5) The diaphragm beneath reacts to it furnishing pressure from the abdomen to the chest 6) As you release the sound gradually, the body relaxes and the chest falls slowly 7) The chest, diaphragm, closed epiglottis and the raised palate all form a supply chamber for the breath
  • 27. 8) From now on the breath must be emitted from the supply chamber very sparingly, but with unceasing uniformity and strength, without once being held back, to the vocal cords, which will further regulate it as far as possible. The more directly the breath pressure is exerted against the chest, — one has the feeling, in this, of singing the tone against the chest where it must be pressed out, — the less breath flows the less they are overburdened.
  • 28. 8) In this way, under control, in the passage formed for it above the tongue by that organ, it reaches the resonance chambers prepared for it by the raising and lowering of the soft palate, and those in the cavities of the head. Here it forms whirling currents of tone; these now must circulate uninterrupted for as long as possible and fill all the accessible resonating surfaces, which must be maintained in an elastic state. This is necessary to bring the tone to its perfect purity.
  • 29. d9) Thus, in shaping the passage for the breath, the larynx, tongue, and palate, which can be placed at will, are employed. The vocal cords, which can best be imagined as inner lips, we have under control neither as beginners nor as artists. We do not feel them. We first become conscious of them through the controlling apparatus of the breath, which teaches us to spare them, by emitting breath through them in the least possible quantity and of even pressure, whereby a steady tone can be produced.
  • 30. can be produced. They can be regarded as the regulators, and relieve them of all overwork through the controlling apparatus of the chest-muscle tension. Through the form prepared by the larynx, tongue, and palate, we can direct the breath, previously under control and regulation, toward the particular resonating surfaces on the palate, or in the cavities of the head which are suitable to each tone. This rule remains the same for all voices.
  • 31. As soon as the breath leaves the larynx, it is divided. (Previously, in inhalation, a similar thing happens; but this does not concern us immediately, and I prefer to direct the singer's chief attention to the second oc- currence.) One part may press toward the palate, the other toward the cavities of the head.
  • 32. • The division of the breath occurs regularly, from the deepest bass to the highest tenor or soprano, step for step, vibration for vibration, without regard to sex or individuality. Only the differing size or strength of the vocal organs through which the breath flows, the breathing apparatus, or the skill with which they are used, are different in different individuals. The seat of the breath, the law of its division, as well as the resonating surfaces, are always the same and are differentiated at most through difference of habit. •
  • 33. • Not till these currents have been sufficiently used up and passed through the " bell," or cup-shaped reso- nating cavity, of the mouth and lips, may it be allowed to stream from the mouth unimpeded. Yet the sensation must be as if the breath were constantly escaping from the mouth. • To observe and keep under control these many functions, singly or in conjunction, forms the ceaseless delight of the never failing fountain of song study.
  • 34. SONG INTERPRETATION 1 First, identify the genre of the song a) Country Music: a form of popular music originating in the rural southern US. It is traditionally a mixture of ballads and dance tunes played characteristically on fiddle, guitar, steel guitar, drums, and keyboard. b) Rock Music: a form of popular music that evolved from rock and roll and pop music during the mid- and late 1960s. Harsher and often self- consciously more serious than its predecessors, it was initially characterized by musical experimentation and drug-related or anti-Establishment lyrics.
  • 35. c) Pop Music: music of general appeal to teenagers; a bland watered-down version of rock'n'roll with more rhythm and harmony and an emphasis on romantic love; any genre of music having wide appeal (but usually only for a short time) Example of pop singers are Justin Beiber, Lady Gaga, Madonna, Katy Perry, Britney Spears, Taylor Swift, etc. d) Rhythm and blues or R&B: a form of popular music of African-American origin that arose during the 1940s from blues, with the addition of driving rhythms taken from jazz. It was an immediate precursor of rock and roll.
  • 36. e) Bluegrass music:is a form of American roots music, and a sub-genre of country music. Bluegrass was inspired by the music ofAppalachia.[1] It has mixed roots in Irish, Scottish, Welsh, and English[2] traditional music, and also later influenced by the music ofAfrican- Americans[3] through incorporation of jazz elements. Example: Dolly Parton
  • 37. f) Jazz: A style of music, native to America, characterized by a strong but flexible rhythmic understructure with solo and ensemble improvisations on basic tunes and chord patterns and, more recently, a highly sophisticated harmonic idiom g) Other styles: hip hop, rap, heavy metal, classical, opera 2) What is the Theme? a) Love song b) Religious/ gospel c) Political commentary d) Humorous e) Ballad ( has a story) f) Satirical ( has hidden meanings)
  • 38. 3) Study the Lyrics a) What is the basic emotion of the song: happiness, sadness, praise, disappointment, having a broken heart, etc. b) Are there any metaphor or hidden meanings? c) What is the emotion for each line? d) Listen to the lyrics over and over again to feel a deeper connection with the lyrics. If the song becomes a part of you you can effectively interpret the song
  • 39. 4) Determine how to express each line with facial expression, eye contact, body movement and hand movement
  • 40. 5) Hand movements should be done in moderation because they can distract the viewers or annoy them or even irritate them. 6) Hand movements must be slow and firm for slow songs. Women can be graceful but men need to look masculine