the vocal pedagogy workshop the vocal pedagogy workshop stephen f. austin, m.m., ph.d. associate...

The Vocal Pedagogy The Vocal Pedagogy WorkshopWorkshop

Stephen F. Austin, M.M., Stephen F. Austin, M.M., Ph.D.Ph.D.

Associate Professor of VoiceAssociate Professor of VoiceCollege of MusicCollege of Music

University of North TexasUniversity of North Texas

June 14 – 16, 2007June 14 – 16, 2007

2The Vocal Pedagogy Workshop - 2007

Voice Building in the 21st Century

Premise 1: Teachers have been successfully building voices for several centuries.

Premise 2: Voice science helps us understand the effectiveness of traditional methods.

Premise 3: Most historical methods (18th & 19th C) focused on training the larynx as the instrument, many more contemporary methods stress ‘support’ and ‘placement’. In historical methods these were considered to be results of the training process, not the means to an end.


Voice Building in the 21st Century

Premise 4: Vowel counts.

Stressed in the historical literature Formed by the position of the articulators:

tongue, jaw, larynx, soft palate, lips, etc. Excessive tension anywhere distorts the vowel.

Premise 5: Voce chiusa Concept or chiaroscuro Should be established right away Will felicitate the other studies, particularly

those concerning the equalization of registers.

Session ISession IVoice Building: Vocal Voice Building: Vocal

RegistersRegistersStephen F. Austin, M.M., Ph.D.Stephen F. Austin, M.M., Ph.D.

Associate Professor of VoiceAssociate Professor of Voice

University of North TexasUniversity of North Texas


Vocal Registers: Tools for Vocal Registers: Tools for GrowthGrowth

A register is the result of a particular A register is the result of a particular muscular adjustment in the larynxmuscular adjustment in the larynx

As such, training the intrinsic muscles As such, training the intrinsic muscles of the larynx can result in significant of the larynx can result in significant changes in the quality of the registerschanges in the quality of the registers

This knowledge can be used to ‘build a This knowledge can be used to ‘build a voice’.voice’. There is historical precedenceThere is historical precedence There is scientific supportThere is scientific support


Manuel Garcia II (1805-Manuel Garcia II (1805-1906) 1906)

1832 appointed to 1832 appointed to Paris Conservatory, Paris Conservatory, 1858 to The Royal 1858 to The Royal Academy of Music Academy of Music in Londonin London

Central figure in Central figure in 1919thth C pedagogy C pedagogy

Famous pupils:Famous pupils: BattailleBattaille StockhausenStockhausen MalibranMalibran MarchesiMarchesi LindLind


Manuel Garcia II (1805-Manuel Garcia II (1805-1906)1906)

……the human voice is, in the largest the human voice is, in the largest sense, composed of the different sense, composed of the different registers:registers:

ChestChestFalsetto-headFalsetto-head

And two timbres:And two timbres:

Clear timbreClear timbre

Sombre timbreSombre timbre


Manuel Garcia II Manuel Garcia II A Complete Treatise A Complete Treatise

on the Art of Singing: Part Oneon the Art of Singing: Part One. The editions of 1841 and 1872 . The editions of 1841 and 1872 collated, edited, and translated by Donald V. Paschke. New York: Da collated, edited, and translated by Donald V. Paschke. New York: Da Capo Press. Pg. xli, 1967.Capo Press. Pg. xli, 1967.

““By the word register we understand a By the word register we understand a series of consecutive and homogenous series of consecutive and homogenous tones going from low to high, produced tones going from low to high, produced by the development of the same by the development of the same mechanical principle, and whose nature mechanical principle, and whose nature differs essentially from another series of differs essentially from another series of tones equally consecutive and tones equally consecutive and homogenous produced by another homogenous produced by another mechanical principle.”mechanical principle.”



on the Art of Singing: Part Oneon the Art of Singing: Part One. The editions of 1841 and 1872 . The editions of 1841 and 1872 collated, edited, and translated by Donald V. Paschke. New York: Da collated, edited, and translated by Donald V. Paschke. New York: Da Capo Press. Pg. xli, 1967.Capo Press. Pg. xli, 1967.

(cont.)(cont.)

““All the tones belonging to the same All the tones belonging to the same register are consequently of the register are consequently of the same nature, whatever may be the same nature, whatever may be the modification of timbre or of force to modification of timbre or of force to which one subjects them.”which one subjects them.”


Table of the vocal registersTable of the vocal registersManuel Garcia, Manuel Garcia, Mémoire sur la voix humaine, Mémoire sur la voix humaine,

18401840


Table of the vocal registers Table of the vocal registers for a tenorfor a tenor

Richard Miller, Richard Miller, Training Tenor Voices, 1993Training Tenor Voices, 1993


According to Garcia, this was a two-According to Garcia, this was a two-register theory.register theory.

This was traditional for the time:This was traditional for the time: ““The voice ordinarily divides itself into two The voice ordinarily divides itself into two

registers, one called the chest register and the registers, one called the chest register and the other the head register, or falsetto.” Mancini. other the head register, or falsetto.” Mancini. Practical Reflections on the Art of Singing, 1774Practical Reflections on the Art of Singing, 1774


Garcia:Garcia: ““to these two registers is added the to these two registers is added the

third, or the head voice, which is third, or the head voice, which is nothing but the continuation of the nothing but the continuation of the falsetto voice.” falsetto voice.” Mémoire sur la voix Mémoire sur la voix humaine,humaine, 1840 1840


Transition from falsetto to head is result of Transition from falsetto to head is result of adductory forces from increased tension adductory forces from increased tension and:and:

““The sombre timbre modifies them in The sombre timbre modifies them in a more striking manner, and people have a more striking manner, and people have thought they saw a new action where there thought they saw a new action where there was only an extension of the same action.” was only an extension of the same action.” Mémoire sur la voix humaine, Mémoire sur la voix humaine, 18401840


Female VoiceFemale Voice Low tones of the falsetto are weak:Low tones of the falsetto are weak:

““it is absolutely necessary, therefore, it is absolutely necessary, therefore, to substitute for them the corresponding to substitute for them the corresponding tones in the chest register, which tones in the chest register, which although they do not have much power, although they do not have much power, do not lack bite.” do not lack bite.” Mémoire sur la voix humaineMémoire sur la voix humaine, , 18401840


Upper tones are also weak:Upper tones are also weak:““It is thus by the position which the It is thus by the position which the

pharynx adopts in the sombre timber and pharynx adopts in the sombre timber and by the pinching of the glottis that these by the pinching of the glottis that these two registers are equalized.” two registers are equalized.” Mémoire sur la Mémoire sur la voix humainevoix humaine, 1840, 1840


Male VoiceMale Voice Falsetto is not so universally important in Falsetto is not so universally important in

the male voicethe male voice Bass voice can ignore itBass voice can ignore it Baritones may utilize it if they choseBaritones may utilize it if they chose Required for the tenorRequired for the tenor


““The falsetto united with the chest The falsetto united with the chest register is, for the tenors more than register is, for the tenors more than for the baritones, a successful and for the baritones, a successful and natural resource. The much too natural resource. The much too elevated elevated tessituratessitura of the music of the music composed today for tenors does not composed today for tenors does not permit them to do without the permit them to do without the falsetto register.” falsetto register.” A Complete Treatise on the A Complete Treatise on the Art of Singing, 1847Art of Singing, 1847


““But the use of that resource, But the use of that resource, however, should be determined by however, should be determined by the ability of the organ to blend the ability of the organ to blend together the metals of the two together the metals of the two registers;” registers;” Garcia: A Complete Treatise on the Art of Singing, 1847Garcia: A Complete Treatise on the Art of Singing, 1847


According to Garcia, men lose the According to Garcia, men lose the ‘head voice’ at puberty.‘head voice’ at puberty.

What did Garcia call the male high What did Garcia call the male high voice?voice?

““Whatever the character of these Whatever the character of these tones may be, they belong to the tones may be, they belong to the chest register, but with a chest register, but with a modification of volume with which modification of volume with which we are going to concern ourselves.”we are going to concern ourselves.”


““The designations of The designations of voix mixtevoix mixte and and mezzo pettomezzo petto are equally improper, for are equally improper, for they would make us suppose that they would make us suppose that these clear and high pitched tones are these clear and high pitched tones are produced by the two mechanisms of produced by the two mechanisms of the chest and falsetto registers at the the chest and falsetto registers at the same time. Now physiologically, . . . same time. Now physiologically, . . . is an unacceptable idea.” is an unacceptable idea.” Garcia: A Garcia: A Complete Treatise on the Art of Singing, 1847Complete Treatise on the Art of Singing, 1847


Garcia is suggesting that the falsetto Garcia is suggesting that the falsetto is useful for extending the range of is useful for extending the range of the chest voice for the male (tenor).the chest voice for the male (tenor). Not useful for performanceNot useful for performance Exercises include register shiftingExercises include register shifting Messa di voceMessa di voce Use of the sombre timbreUse of the sombre timbre

Primary unification devicePrimary unification device


““It is in fact this result that a capable singer It is in fact this result that a capable singer knows how to obtain, when on one side he knows how to obtain, when on one side he completely relaxes all the muscles of the completely relaxes all the muscles of the pharynx, and on the other he narrows more pharynx, and on the other he narrows more and more the column of air. In these and more the column of air. In these circumstances, the glottis, endowed with a circumstances, the glottis, endowed with a complete liberty, can reach the final limits of complete liberty, can reach the final limits of its action. One is astonished to see a tenor its action. One is astonished to see a tenor give, without any apparent effort, the notes give, without any apparent effort, the notes A4, B4 C5, C#5 and D5”. A4, B4 C5, C#5 and D5”. Garcia: A Complete Treatise on the Art of Singing, Part 2. Garcia: A Complete Treatise on the Art of Singing, Part 2. 18471847


Conclusion:Conclusion: Garcia’s table of registers reflects the Garcia’s table of registers reflects the

thinking of the day.thinking of the day. Garcia predicted a similar mechanism Garcia predicted a similar mechanism

in male ‘falsetto’ and female ‘medium’ in male ‘falsetto’ and female ‘medium’ register prior to his register prior to his inventioninvention of the of the laryngoscope.laryngoscope. Vibration limited to the marginsVibration limited to the margins Slight gap between vocal processes of Slight gap between vocal processes of

arytenoidarytenoid


Conclusion:Conclusion:

His scheme of the registers is equivalent to His scheme of the registers is equivalent to some modern theories if the names are some modern theories if the names are changed: ‘medium’ register for female and changed: ‘medium’ register for female and ‘head voice’ for the extension of the chest when ‘head voice’ for the extension of the chest when the sombre timbre is utilized.the sombre timbre is utilized.

Garcia offers a specific course of study for the Garcia offers a specific course of study for the development and integration of the vocal development and integration of the vocal registers.registers.

His model for singing is appropriate for the His model for singing is appropriate for the modern studio teacher.modern studio teacher.


Minoru Hirano Minoru Hirano “Regulation of Register, “Regulation of Register,

Pitch and Intensity of Voice”. Pitch and Intensity of Voice”. Folia Phoniatrica,Folia Phoniatrica, Vol. 22, Pp. 1-20, Vol. 22, Pp. 1-20, 1970.1970.


Minoru Hirano Minoru Hirano “Vocal Mechanisms in “Vocal Mechanisms in

Singing: Laryngological and Phoniatric Aspects”. Singing: Laryngological and Phoniatric Aspects”. Journal of VoiceJournal of Voice, , Vol. 2, No. 1, Pp. 51-69. 1988.Vol. 2, No. 1, Pp. 51-69. 1988.


Ingo Titze Ingo Titze Principles of Voice ProductionPrinciples of Voice Production. Prentice . Prentice

Hall, Englewood Cliffs, New Jersey, Pg. 262, 1994.Hall, Englewood Cliffs, New Jersey, Pg. 262, 1994.


Ingo TitzeIngo Titze Principles of Voice ProductionPrinciples of Voice Production. Prentice . Prentice


““As the bottom of the vocal fold bulges out, As the bottom of the vocal fold bulges out, the glottis becomes more rectangular the glottis becomes more rectangular than wedge-shaped (convergent). During than wedge-shaped (convergent). During vibration, then, glottal closure can be vibration, then, glottal closure can be obtained over a greater portion of the obtained over a greater portion of the vocal fold, and thereby over a greater vocal fold, and thereby over a greater portion of the cycle…The result is a voice portion of the cycle…The result is a voice of richer timbre, which we call of richer timbre, which we call chestchest or or modalmodal voice. voice.


Giambattista Mancini Giambattista Mancini Practical Practical

Reflections on Figured SingingReflections on Figured Singing. Editions of 1774 & 1776 compared, . Editions of 1774 & 1776 compared, translated and edited by Edward V. Foreman, Pro Music Press, translated and edited by Edward V. Foreman, Pro Music Press, Minneapolis. Pg. 20, 1967.Minneapolis. Pg. 20, 1967.

““This chest voice is not equally This chest voice is not equally forceful and strong in everyone; but forceful and strong in everyone; but to the extent that one has a more to the extent that one has a more robust or more feeble organ of the robust or more feeble organ of the chest, he will have a more or less chest, he will have a more or less robust voice.”robust voice.”




““A sonorous body, or rather A sonorous body, or rather robustness of voice is ordinarily a robustness of voice is ordinarily a gift from nature, but can also be gift from nature, but can also be acquired by study and art.”acquired by study and art.”




““It remains for me now to speak of It remains for me now to speak of those voices which are slender and those voices which are slender and weak throughout their register . . . weak throughout their register . . . One observes that these voices are One observes that these voices are very weak in the chest notes, and very weak in the chest notes, and the greater majority deprived of the greater majority deprived of any low notes, but rich in high any low notes, but rich in high notes, or head voice . . .” notes, or head voice . . .”




““There is not method more sure to There is not method more sure to obtain this end, I believe, than to have obtain this end, I believe, than to have such a little voice sing only in the such a little voice sing only in the chest voice for a time. The exercise chest voice for a time. The exercise should be done with a tranquil should be done with a tranquil solfeggiosolfeggio; and as the voice enriches ; and as the voice enriches itself with greater body, and range, itself with greater body, and range, one may blend it as much as possible one may blend it as much as possible with the low notes.”with the low notes.”



on the Art of Singing: Part Oneon the Art of Singing: Part One. The editions of 1841 and 1872 . The editions of 1841 and 1872 collated, edited, and translated by Donald V. Paschke. New York: Da collated, edited, and translated by Donald V. Paschke. New York: Da Capo Press. Pg. 50, 1967.Capo Press. Pg. 50, 1967.

““As we have said, the chest register is As we have said, the chest register is generally denied or rejected by generally denied or rejected by teachers, not that one could not draw teachers, not that one could not draw from its application an immense from its application an immense advantage, nor that the suppression of advantage, nor that the suppression of the range which it embraces would not the range which it embraces would not deprive the singer of the most beautiful deprive the singer of the most beautiful dramatic effects or the most favorable dramatic effects or the most favorable contrasts.”contrasts.”


William Vennard William Vennard Developing VoicesDeveloping Voices. .

Carl Fischer, New York, New York, 1973.Carl Fischer, New York, New York, 1973.

““During her studies she frequently asked During her studies she frequently asked for help with her high tones, which did for help with her high tones, which did improve during the work. More improve during the work. More freedom and modification of the freedom and modification of the brighter vowels helped the top voice, brighter vowels helped the top voice, but what she needed most was to but what she needed most was to develop the chest voice and blend it into develop the chest voice and blend it into her singing so that it would be usable.”her singing so that it would be usable.”


Richard Miller Richard Miller Structure of SingingStructure of Singing. .

Schirmer Books, New York, New York. Pg. 136-137, 1986.Schirmer Books, New York, New York. Pg. 136-137, 1986.

““Chest mixture will strengthen the Chest mixture will strengthen the soprano’s lower - middle range. Almost soprano’s lower - middle range. Almost every female can make some chest every female can make some chest timbre sounds, no matter how insecure, timbre sounds, no matter how insecure, in the lowest part of her range. These in the lowest part of her range. These notes should be sung in short, notes should be sung in short, intervallic patterns, transposing by half intervallic patterns, transposing by half steps upward, as more sound emerges.”steps upward, as more sound emerges.”


Ingo Titze Ingo Titze Principles of Voice ProductionPrinciples of Voice Production. Prentice . Prentice




on the Art of Singing: Part Oneon the Art of Singing: Part One. The editions of 1841 and 1872 . The editions of 1841 and 1872 collated, edited, and translated by Donald V. Paschke. New York: Da collated, edited, and translated by Donald V. Paschke. New York: Da Capo Press. Pg. 50, 1967.Capo Press. Pg. 50, 1967.

“…“…because one can approach the study because one can approach the study of this register only with the help of of this register only with the help of profound knowledge, under the threat profound knowledge, under the threat of ruining the student’s voice, and of ruining the student’s voice, and because the blending of this register because the blending of this register with that of the falsetto can be secured with that of the falsetto can be secured only by a long and ably directed labor. only by a long and ably directed labor. It has therefore been judged simpler It has therefore been judged simpler and more natural to free oneself from and more natural to free oneself from the difficulty of studying it.”the difficulty of studying it.”




““For example, take a scholar who has For example, take a scholar who has strengthened his chest tones, but has those of strengthened his chest tones, but has those of the head weak out of all proportion. . . Then the head weak out of all proportion. . . Then suppose: the head voice being in need of help, suppose: the head voice being in need of help, since it is separated from the chest, the most since it is separated from the chest, the most certain method to help unite them is for the certain method to help unite them is for the scholar, without losing time, to undertake to scholar, without losing time, to undertake to establish in his daily studies the manner of establish in his daily studies the manner of holding back the chest voice and of holding back the chest voice and of strengthening little by little the unfriendly notes strengthening little by little the unfriendly notes of the head, in order to render the latter equal of the head, in order to render the latter equal to the former in the best possible way. . . He to the former in the best possible way. . . He must subdue a portion of the voice which is must subdue a portion of the voice which is strong, and render vigorous another portion, strong, and render vigorous another portion, which is by nature weak.”which is by nature weak.”


Register Building Register Building ExercisesExercises

Registers respond to: Pitch, Intensity Registers respond to: Pitch, Intensity and Voweland Vowel

Chest:Chest: Low and firm “tranquil Low and firm “tranquil solfeggio”solfeggio” As high as F4 (both men and women) in As high as F4 (both men and women) in

the the claire timbreclaire timbre ‘‘Break outs’, register shifting,Break outs’, register shifting, Sombre timbre (low larynx) to integrate Sombre timbre (low larynx) to integrate

with lighter mechanismwith lighter mechanism


Register Building Register Building ExercisesExercises

Registers respond to: Pitch, Intensity Registers respond to: Pitch, Intensity and Voweland Vowel

Falsetto:Falsetto: Male – closed and open falsettoMale – closed and open falsetto Vennard’s ‘Vennard’s ‘nyah’nyah’ Anthony Frizell’s Anthony Frizell’s Mezzo-falsoMezzo-falso Oren Brown’s ‘top-down’Oren Brown’s ‘top-down’ Register breaksRegister breaks

PortamentoPortamento with ‘firm phonation’ with ‘firm phonation’


Register BreakoutsRegister Breakouts


‘‘Long sustained tones in Long sustained tones in the chest’the chest’


William Vennard William Vennard Singing: The Singing: The

Mechanism and the TechniqueMechanism and the Technique. Carl Fischer, New York. Pg 214. . Carl Fischer, New York. Pg 214. 1967.1967.


William Vennard William Vennard Singing: The Singing: The

Mechanism and the TechniqueMechanism and the Technique. Carl Fischer, New York. Pg 155. . Carl Fischer, New York. Pg 155. 1967.1967.


‘‘Welcoming in the chest’Welcoming in the chest’


‘‘Imposing the chest ’Imposing the chest ’


‘‘Deference to the Deference to the head’head’

the vocal pedagogy workshop the vocal pedagogy workshop stephen f. austin, m.m., ph.d. associate...

Documents

vocal pedagogy workshopstephen

vocal registersstephen

vocal registersmanuel

historical methods

voice science

human voice

different registers

equalization of registers