Formant Tuning

1 clickHi and WelcomeSlide 1Please complete each slide as you go. I have marked the number of clicks each slide needs for the complete picture on the top left of each page. Most slides only need one.1.Read the slide2. Click(some systems need a double click) on the sound clip and listen as many times as you need.3. Right click on the Hyperlink, move the pointer to Open Hyperlink and click. Answer all the questions as you go If you want to go back and add to them later could you do this in italics as I would like to know your first response to the question. If you dont understand something just put that down too.Thanks heapsKathHyperlink 1

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1 click to closeHyperlinkMove down slides with arrows1Vowelsand Air Flowin Singing

How Science can help?1 clickHyperlink 2 Slide 2

Science has long been regarded with suspicion by the arts especially in singing where aural perception by the master teacher has been a closely guarded secretAttempts to demystify singing have been resisted with strong suspicion by singers and singing teachers. New fact based pedagogy in singing is striving to give singing teaching a credible and unified vocabulary. Voice scientists have to learn how to communicate scientific ideas clearly to voice teachers. Voice teachers need to be open to learning from the voice science community and willing to change their ideas and contribute their opinions. This two way conversation must be established for progress to occur. This research is about how complicated scientific ideas that are relevant to singing teachers be explained so they are usable in the singing studio.

2Vocal ResearchEarlier ResearchCadavarsDog/cat larynxComparative Morphology & PhysiologyModels ComputationalCurrent ResearchVoice Research Laboratories & Rothenburg MaskBreath flow dynamicsAir breathe pressure flowVocal fold movements

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1 clickWe know more about the sounds dead larynxes make than live ones. Scientists have blow air through them to work out how they make sound.Dog larynx are studied because they are about the same size as human females, cat larynx are about the same size as infantsWe have compared the structures of different larynx by dissectionComputational models have given indications and a range of ideas about breathe flow dynamics.The advent of Voice Science Research Laboratories and the Rothenburg mask have made a start at uncovering some of the incredible facts surrounding the sound production of the human voice and the complexities of the Singing Voice compared to the speaking voice At present there are very few averages or norms about breath flow dynamics, air breath pressure flow and vocal fold movement during singing

3Definitions or DescriptionsGlottis space between vocal foldsLarynx - Vocal folds and glottis plus bones and muscles involvedEpilarynx from vocal folds to the constriction of the tongueEpilarynx tube - from vocal folds to top of epiglottis

FoldsHyperlink 4Slide 4

1 clickSometimes scientific definitions are more detailed and clearer than those we use in the singing studio. However having the same meaning for a word can also make things easier when we discuss them because scientists and singing teachers then are not communicating at cross purposes. This is why these definitions are included here. Id like you to look at them and then go to the hyperlink and comment about whether they are the same or different to those you have used in your singing studio4

Diagram 1Sound at Vocal folds (glottis)showing the harmonics and how loud each one is..Diagram 2Sound as it comes out the mouth from Vocal tract.The peaks in the harmonics are called FormantsEnergy (in decibels) is added by vocal tract HOW?Formant 1 F1H2

Slide 5Hyperlink 57 clicksThese two graphs have long fascinated science. Just what is done to the sound in the vocal tract as it passes through that gives it extra energy?These changes in energy seen by the peaks in the harmonics in the lower graph are called formants.F1H2 means Formant one (the first energy peak) is seen in Harmonic 25Linear Source-Filter Theory of Voice Air Flow: Source of sound independent of FilterGlottisSinus spaces in headMouthSourceFilterVocal TractFilterFilterSlide 6Hyperlink 6

THEORY 1AIR FLOW1 clickLinear Source-Filter Theory of Voice Air FlowThis theory or idea about how the air flows in the vocal system shows the air coming through the glottis and the sound wave being made. The glottis is seen as the SOURCE of the sound wave. The source has no further effect on the air stream or vice versa.The air then goes one way straight through the vocal tract, mouth and sinus areas (The FILTER) and the extra energy is created somewhere in this system.This extra energy is called RESONANCE and has long been taught to have been made in the HEAD SPACES sometimes SINUS SPACES6

Vocal chart showing where resonance is madeSlide 7

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1 clickSinging teachers have often used diagrams to show students where resonance is made. Other methods are humming buzzing and using nasal consonants to feel resonance in the mask.7Non-Linear Source Filter Coupling Theory: Source of sound affected by (coupled) to filter.

Discuss: Resonance

Aerodynamics of one end closed tube (Newton's Second Law of Motion)

Vowel ProductionSlide 8

Hyperlink 8THEORY 21 clickWith the invention of the Rothenburg mask we can now measure breath flow & breath pressure with computers during the singing of a song, A new theory has been put forward The Non-Linear Source Filter Coupling TheoryThis theory says that some of the air that comes through the glottis can be returned to stabilize the vocal folds of the glottis during sound production we say the SOURCE is COUPLED to the FILTERTo understand this we need to look at three ideas in more detailhow resonance worksthe aerodynamics of a one end closed tube i.e. Newtons Second Law of MotionVowel production

8ResonanceResonanceis the tendency of a system to oscillate with greater amplitude at some frequencies rather than at others. Smallperiodic driving forces can produce large amplitude oscillations. so Aerodynamic energy is more easily converted to acoustic energy.

Two Kinds

Fixed Resonance Chest & head vibrations(personal)

Free Resonance made in the vocal tract, felt in the head spaces can be tuned using formant vowels at various frequencies Slide 9

Hyperlink 91 clickResonance can cause a system to oscillate (move around) with greater amplitude at some frequencies rather than others. We have all experienced this in a car when at certain speeds a rattle will develop.Sometimes a really small change in frequency will give a large response so sometimes in the vocal system a really small change in frequency (pitch) can mean more aerodynamic energy (air movement) is converted to acoustic energy(sound)

There are 2 kinds of resonanceFixed or personal such as chest and head vibrations due to a singers body shape i.e. called personalOrFree resonance resonance that can be explored by changing air flow in the vocal tract using different frequencies (pitches)9Resonance: WHAT HAPPENS?Aerodynamics of closed - open tube follows Newton's Law for Air Column. Multiple reflections cause a Standing Wave so Resonance occurs.Vocal folds (glottis)Back of tongueSlide 10Hyperlink 10

Click 6 times on this slide to see how the wave works6 clicksSound reflects just like light in a mirrorThis animation shows how just one sound wave works when the pitch frequency and the vowel work together. Keep clicking on the slide to see what happens to the sound wave.The sound wave is produced (Light red) and moves through the vocal tract to the back of the tongue. If the pitch frequency and the vowel work together some of the sound wave goes out of the mouth but some (light blue) goes back to the vocal folds to REINFORCE the next wave coming Imagine this on A5 at 440 waves per second.The wave now is reinforced (dark red) so the amount of sound produced is increased. This is Free Resonance.Newtons Law for Air Columns shows how multiple reflections will cause a standing waveThe maths for Newtons Law for Air Columns is in the hyperlink if you want it10 Closed open tube with non uniform and bidirectional particle velocity FO > F1 i.e. Singing

Now the Closed Open Tube does not act like lumped air massThe pressure above the glottis accelerates & decelerates the air column above glottis causing sound waves.When air particles act like this we have an Inertive Vocal TractInertance acoustic property of air mass accelerated (or decelerated) by pressure Sudden Phase reversal allows supraglottal pressure to be in phase with vocal fold pressure (Inertive reactance)IVT (inertive vocal tract ) is the push - pull mechanism opening and closing the vocal fold Slide 11Hyperlink 11

1 clickWhen we are singing the closed open tube does not act like a lumped air massThe air above the glottis can undergo phase reversalThe supraglottal pressure is in and out of phase with the vocal folds this is the push pull mechanism opening and closing the vocal folds.With a standing wave this phase reversal is stabilized

The vocal tract is INERTIVE the most energy efficient way to sing.

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Supraglottal pressure: Vocal tract Input Pressure Vocal tract flowIntraglottal pressure: Transglottal Pressure Glottal flowSubglottal pressure: Subglottal Input Pressure Subglottal Flow c.f. PTP Prephonatory Threshold PressureRelative Impedance: Intraglottal pressure in relation to supraglottal pressureSlide 12Hyperlink 12Some new definitions

1 clickVoice scientists are now using new descriptions of the way air flow is affected within the vocal tract .Supraglottal pressure is the pressure above the glottis and how it relates to vocal tract flowIntraglottal pressure looks at the pressure across the glottis and that relates to glottal flowSubglottal pressure looks at the input pressure to the glottis in relation to subglottal flowPTP (Prephonatory Threshold Pressure) the pressure needed to open the vocal foldsRelative Impedance compares Intraglottal pressure with supraglottal pressure.

(Remember supra means above, intra means between and sub means below, trans accross)

12Non-Linear Source Filter Coupling Theory: Source of sound affected by (coupled to) filter.

EpiglottisSourceSlide 13Hyperlink 13

1 clickVoice scientists have continued their work on the non-Linear source filter coupling theory using Aeroview/Waveview computing linked with the Rothenburg mask Air flow is now described using the Phonatory Aero Dynamic Theory.Under certain conditions the air flow is reflected back into the Epilarnyx. This not only changes the vocal fold sound production keeping the vocal folds together for longer in the cycle of vocal fold motion - called the Closed Quotient (CQ) - but increases resonance in the soundNew definitions are now needed to describe what is happening

13AIR FLOW DYNAMICS:ANOTHER WAY OF LOOKING AT COUPLING.

IMPEDANCE = RESISTANCE + REACTANCE (Coupling) (Energy Dissipating) (Energy Storing)

Inertive Vocal Tract Compliant Vocal Tract (Positive reactance) (Negative reactance) Supraglottal Pressure. Supraglottal Pressure not in phase with Intraglottal in phase with Intraglottal Pressure. Pressure.Slide 14Hyperlink 14

1 clickNow we can put this Air Flow Dynamics theory into wordsIn the vocal tract energy change occurs from AERODYNAMIC (Air Flow) ENERGY to ACOUSTIC (sound) ENERGY Coupling or Impedance is the Total Acoustic Energy

Impedance or coupling consists of two partsResistance means energy is lost or dissipatedor energy storing

Reactance can be

EITHER

Inertive (Positive Reactance) where the Supraglottal and Intraglottal pressure work together (In Phase) AN IVT (Inertive Vocal Tract) gives other benefits e.g. higher CQ, Lower PTP

OR

Compliant(Negative Reactance) where the Supraglottal pressure and Intraglottal Pressure are not in phase

This may seem a long way from what singing teachers need to know but actually it is not. It describes efficient healthy voice.

14 Epilarynx tube

2-3cm at glottal end of vocal tubeCan be narrowed without compromising articulation by tongue jaw, lips or velumSo consider inertance in 2 tubes

A. simple closed end tube

B. Closed end tube with initial narrowingSlide 15Hyperlink 15

1 clickVoice Scientists then looked further at Inertance.Remember Inertance happens when the supraglottal pressure is working in phase with in the Intraglottal pressureThey looked at the Inertance caused by the epilarynx tube. This tube is at the glottal end of the vocal tract.The epilarynx tube can be altered/narrowed without changing articulation or causing constriction in the tongue, jaw or velum.In voice scientist terms this compares a simple closed end tube with a closed end tube with initial narrowing15Diagram showing Epilarynx tubeSlide 16Hyperlink 16

Epilarynx tubeEpilarynx tubeArytenoidArytenoidTracheaTracheaEpiglottisEpiglottisVocal foldsVocal foldsFalse foldsFalse foldsThyroid cartilageThyroid cartilageCrycoid cartilageCrycoid cartilageWide opening of epilarynx - Simple closed end tubeB. Narrow opening of epilarynx- Closed end tube with initial narrowing

1 clickThese two diagrams show a cross section of the epilarynx tube it is cut in half downwards.Diagram A shows no narrowing of the epilarynx and represents the simple closed end tubeDiagram B show a narrowing of the Epilarynx and represents a closed end tube with intial narrowing

Voice Scientists were not looking at how the narrowing was done.They were looking at the effect that this had on Inertance

16Conclusions1.Inertance not constant with frequency therefore air particle movement is not uniform along vocal tract 2. Inertance is increased by epilarnyx narrowing although there are still frequencies where no inertance occurs

Slide 17Hyperlink 17--------------- B. Closed end tube with initial narrowing A. simple closed end tube

1 clickThere are 2 graphs here. The solid line shows what happens to inertance if the epilarnx tube is not narrowed.The second line shows how inertance works if the epilarnyx is narrowed.

The first conclusions is that there are gaps in the inertance places in the frequency range where inertance is harder to produce.The second conclusion is that epilarynx narrowing increases inertance in nearly all frequencies especially between 2000 and 2500Hz.172 clickSumming UpSo IFThe epilarynx is the right length for that pitch (frequency).

The epilarynx tube is narrowed so peaks of inertance are used .

The back of the tongue is the right height.

THEN Some of the sound wave will be reflected (bounced) back creating resonance.

How do singers control this?

epilarynxSlide 18Hyperlink 18

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/i/ heed

1. The Tongue is the major shaper of the formants/a/ fatherRed area shows approximate length of air tube for these two different vowels /i/ a high front vowel, /a/ a low back vowel.Slide 19Hyperlink 192.Vocal tract inertance changes with each vowel

5 click19Vowels adjust the epilarynx, epilarynx tube and the back of the tongue

This can also be shown on a Vowel Chart

PalateMiddle tongueeSlide 20Hyperlink 20

2 click20Low BackWhere does the tongue go?

/i/ heed/ e/ geh (Gr)/u/ blue/a/ father

High FrontHyperlink 21Slide 21

15 clickThis slide shows diagrams of four cardinal vowels with the tongue positions. The short red line in each diagram allows you to compare the relative tongue positions of the vowels easily. The Vowel Chart is a shorthand way of thinking about the space the vowels are made in between the palate and the middle of the tongue

Explaining this diagram of the vowel positions on the tongue can be confusingAll the vowels are formed on the middle of the tongue.However students are often confused by the idea of a high front vowel thinking that it is formed on the FRONT of the tongueAnd the Low Back vowel is at the BACK of the tongue

21An idea to help in the studioSimplify how you describe the Tongue

RootBackMiddleFrontTipSlide 22Hyperlink 22

2 clickThere are many tongue diagrams especially in Speech books which are quite complicatedIt is easier for teaching singing vowels to simplify these diagrams to one similar to the one above.Many students are surprised that the middle of the tongue is further back than they thought and the root of the tongue is even further down the throat.

22An idea to help in the studioThe Cardinal Vowels are not made clearly in New Zealand speech (see Hyperlink 23)Using the finger inside the mouth while making the vowels allows the student to realise where the different vowels are made.This can then be linked to formant tuning.

Slide 23Hyperlink 23

Habituation of Cardinal Vowels in the correct position makes learning other vowel positions using International Phonetic Alphabet (IPA) much easier23So we have looked atResonanceAerodynamics of Vocal TractVowel Formation

Now we are ready to look at Formant Tuning

Every vowel has its own formant pattern(Pattern of frequencies where the harmonics are resonated or amplified)Slide 24

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/i//u//o//e//a/Formants for Cardinal Vowels (Female)Frequency(pitch)Slide 25

Hyperlink 251 clickThe formant graphs are for the Cardinal vowels /i/ /u/ /o/ /e/ /a/They show the first 3 formants for each vowelYou will notice the formants are at different frequencies or pitches for each vowelAlso notice that some peaks are narrow (or short band width) while others have a smoother peak (or wide band width)Now take particular notice of the first formant peak for each vowelSee how when the formant graphs are arranged like this the first formant peaks move form low to high pitch. On the next slide we will show you how these formant peaks relate to actual pitches in the female voice.

NB: the amount of affect on resonance has on either side of the formant pitch depends on the band width.25/i//a//o//u//e/Formant Pitches for Cardinal Vowels(Female)pitchD4#F4#G5#D5D5#Slide 26

Hyperlink 262 clicksThe Bandwidth of the formant peak means that some vowels work over a larger area of pitches.

26The formant vowel produce the most resonance at the formant pitchFemale /i/ /u/ /o/ /e/ /a/

Male /i/ /u/ /e/ /o/ /a/

Slide 27

Hyperlink 271 clickThe differences in formant tuning are due to the different length and width of the male vocal tract. Some Singing Teachers working with Formant Tuning have made more suggestions and refined this technique with non-cardinal vowels for different voice types. One of these is found on Hyperlink 30 but it is really worth starting with just these cardinal vowels at first.27HOW?By using formant vowels at the formant pitches, we know we have adjusted the epilarynx, the epilarynx tube and the tongue to improve resonance.

Females: /i/ heed D4# Males: /i/ heed C4 /u/ blue F4# /u/ blue D4# /o/ boat D5 /e/ geh (Gr) C5 /e/ geh (Gr) D5# /o/ boat D5 /a/ father G5# /a/ father F5#

Slide 28

Hyperlink 281 clickHow can we use this in the singing studio? By using Formant vowels at Formant pitches we know we have adjusted the epilarynx, the epilarynx tube and the tongue to improve resonance.Now students who have never felt resonance at various pitches can focus on what that resonance feels likeThey can then match this when using other vowels in that pitch range modifying the vowels slightly for maximum resonance. This is Formant Tuning.

For example: a female singing the word moon on D4 would initially practice this on the formantvowel /i/ to feel the resonance then match this resonance on the /u/ vowel in moon.The /u/ vowel is modified towards the /i/ vowel at this pitch.

28Studio Hint1.Use stick-on stars on the piano lid with the formant vowels from slide 27 written on.Use different coloured stars for each voice type. (male/female)You will quickly find these really useful to help you formant tune the voice.Slide 29Hyperlink 29

1 clickStick on stars with the formant vowel written on above the correct pitch on the piano lid have been both an easy way of remembering how to use this knowledge both when warming up the voice and formant tuning a difficult vowel passage.Students quickly feel and learn what you are doing and are soon formant tuning themselves29Studio Hint

2.Formant tuning. Use the charts on Hyperlink 30 one for each voice type to further explore the resonance made with the formant vowel for each voice type. You are getting the best resonance at each pitch. Used alongside Voce Vista, formant tuning can show the improved F1H1 when the vowel and formant tuning work togetherUse the formant vowels to practice difficult sections of a piece, especially those which move through transition or students are having trouble with legatoSlide 30Hyperlink 30

1 click30 Studio Hint3. Vowelsa. Vowel matching e. g.If a soprano needs to sing an /a/ on an E4, sing it first on the /i/ vowel (the formant vowel for that pitch) to feel the resonance affects the vocal tract is now at the right length. Match this resonance effect to the /a/ vowel at this pitch. b. Vowel definition - aural. I find the use of the finger on the tongue allows students to improve their aural recognition of vowels and vowel changes very quickly.Slide 31

Hyperlink 311 click31 Studio Hint4. Transition Across the transition areas of the voice, the vowel changes can be linked to formant pitches to stabilize the vocal fold vibration (Inertive reactance) Some examples of this are given in the hyperlinkSlide 32Hyperlink 32

1 click323 effects of formant tuningThe formant vowels are used at formant pitch produce maximum resonanceThe sound is amplified (resonance) in the vocal tract.The vocal fold vibration is stabilized by air flow dynamics (inertance) producing an IVT Inertive Vocal Tract

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Hyperlink 331 click33ReferencesAbbott, K., Titze, I. (2012) Vocology The Science and Practice of Voice Habituation. National Centre of Voice Science (NCVS) :Utah.Anthomy, J., Douglas, W., David, G. (2000).Anatomy and Physiology for Speech, Language, and Hearing(2nd ed.). Thomson Learning: Canada.Bozeman,K.,(2013) Practical Vocal Acoustics. Pendragon:New YorkMcCoy,S. (2012) Your Voice: An Inside View. Inside View Press: Princeton.Miller,D. (2008) Resonance in Singing. Princeton: Inside View Press.Nix,J. (2008) Voice Research and Technology: Vowel Modification Revisited. Journal of Singing 61.2.173-176.Titze. I.R. (1988) The Physics of Small Amplitude Oscillation of the Vocal folds. Journal of the Acoustical Society Of America 3(4),1536-1552.Titze. I.R. (2000) Principles of Voice Production (2nd ed.). National Centre of Voice Science (NCVS) :Utah.Titze. I.R. (2006) The Myoelastic Aerodynamic Theory of Phonation. National Centre of Voice Science (NCVS) :Utah.

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Many of these books are quite difficult to read but are the beginnings of the new fact based pedagogy that is striving to give voice a credible and unified vocabulary. This will eventually change how singing and singing teachers view their art but not until scientific ideas can be translated into a knowledge base that is accessible to all singing teachers.34