Continuing my series on relating 'Sound to the Anatomy' in training. I'm concluding Vibrato this week & dealing with Trill.
1. The voice is seriously affected when the vocal folds try to control the airflow at the same time as they are vibrating to speak or sing.
2. Control of airflow in singing should only be done by the breath support system & not by the Larynx, which would create a false Vibrato!
3. Speech quality does not lend itself to Vibrato, but it may be added deliberately to the tone for effect, particularly at the end of phrases.
4. A Trill is a controlled Vibrato produced by a well-supported, free larynx, rising & falling rapidly in the throat to encompass two notes.
5. The Trill is viewed in the Bel Canto school as the finished product of a well-trained and well-produced voice.
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations available-
www.rosscampbell.biz- www.musicaltheatreireland.ie
- www.rosscampbelluk.blogspot.com
Sunday 31 January 2016
Sunday 24 January 2016
Week 49: Vibrato
Continuing my series on relating 'Sound to the Anatomy' in training. I'm dealing with Vibrato this week.
1. Vibrato naturally occurs when the thyroid cartilage tilts but care must be taken that Vibrato does not become extreme & turn into a wobble.
2. Vibrato is a slight variation of pitch around a central note, arising from the free vibration of the true vocal folds and the larynx itself.
3. When airflow is not properly controlled by the breath support system, the larynx may grip, & produce a “bleat”, a fast, unpleasant Vibrato!
4. Absence of Vibrato creates the “white” voiced straight tone which is currently popular among exponents of Early Music.
5. Anatomically, the Early Music “white” voiced straight tone can be described as thin-fold speech quality, with some head sinus resonance.
- Visit us at our official website: Daily Singing Tips
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- Ross Campbell
Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations available-
www.rosscampbell.biz- www.musicaltheatreireland.ie
- www.rosscampbelluk.blogspot.com
1. Vibrato naturally occurs when the thyroid cartilage tilts but care must be taken that Vibrato does not become extreme & turn into a wobble.
2. Vibrato is a slight variation of pitch around a central note, arising from the free vibration of the true vocal folds and the larynx itself.
3. When airflow is not properly controlled by the breath support system, the larynx may grip, & produce a “bleat”, a fast, unpleasant Vibrato!
4. Absence of Vibrato creates the “white” voiced straight tone which is currently popular among exponents of Early Music.
5. Anatomically, the Early Music “white” voiced straight tone can be described as thin-fold speech quality, with some head sinus resonance.
- Visit us at our official website: Daily Singing Tips
- Follow us at Facebook and Twitter!
- Ross Campbell
Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations available-
www.rosscampbell.biz- www.musicaltheatreireland.ie
- www.rosscampbelluk.blogspot.com
Sunday 17 January 2016
Week 47: Twang (Part 3)
Having dealt with relating Twang to the Anatomy for 2 weeks, I'm revisiting where & how we use Twang resonance this week.
1. Twang has nothing to do with your Nose! Twang should not be nasal, unless you make a character choice to use nasal twang, e.g. Panto Witch.
2. Twang is NOT a pure Voice Quality. It is a very versatile, safe resonating device/ring of muscle used in commercial music, MT & in Opera.
3. Your Twanger or aryepiglottic sphincter is a resonating device located above the vocal folds. It is the squillo of Opera; ringing & intense.
4. Carefully crafted Twang exercises are fabulous for sorting out many vocal weaknesses & problems in all styles of music. Perfectly safe!
5. Twang thins the Vocal Folds, assists in tilting the thyroid, helps negotiate the middle transition (Break!) & helps to prevent driving air!
- Visit us at our official website: Daily Singing Tips
- Follow us at Facebook and Twitter!
- Ross Campbell
Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations available- www.rosscampbell.biz- www.musicaltheatreireland.ie
- www.rosscampbelluk.blogspot.com
1. Twang has nothing to do with your Nose! Twang should not be nasal, unless you make a character choice to use nasal twang, e.g. Panto Witch.
2. Twang is NOT a pure Voice Quality. It is a very versatile, safe resonating device/ring of muscle used in commercial music, MT & in Opera.
3. Your Twanger or aryepiglottic sphincter is a resonating device located above the vocal folds. It is the squillo of Opera; ringing & intense.
4. Carefully crafted Twang exercises are fabulous for sorting out many vocal weaknesses & problems in all styles of music. Perfectly safe!
5. Twang thins the Vocal Folds, assists in tilting the thyroid, helps negotiate the middle transition (Break!) & helps to prevent driving air!
- Visit us at our official website: Daily Singing Tips
- Follow us at Facebook and Twitter!
- Ross Campbell
Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations available- www.rosscampbell.biz- www.musicaltheatreireland.ie
- www.rosscampbelluk.blogspot.com
Sunday 10 January 2016
Week 46: Twang (Part 2)
Continuing my series on relating 'Sound to the Anatomy' when training. I'm dealing with Twang for a 2nd week.
1. Twang can be used in all voice qualities and is a resonating device which makes the sound brighter and more intense.
2. Think of Twang as being the Tonic of a Gin & Tonic! We have to mix in just the right amount appropriate to the voice quality & musical style.
3. Learning to use Twang gives the singer a great advantage, as less energy is used in producing sound when employing this resonator.
4. Through Twang, the singer can access the higher notes of the range more easily and safely, as the true vocal folds are in a thin state.
5. The Singer can slide through transitions of register from low to middle and middle to high with greater ease by employing Twang resonance.
Visit us at our official website: Daily Singing TipsFollow us at Facebook and Twitter!
- Ross Campbell
Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
1. Twang can be used in all voice qualities and is a resonating device which makes the sound brighter and more intense.
2. Think of Twang as being the Tonic of a Gin & Tonic! We have to mix in just the right amount appropriate to the voice quality & musical style.
3. Learning to use Twang gives the singer a great advantage, as less energy is used in producing sound when employing this resonator.
4. Through Twang, the singer can access the higher notes of the range more easily and safely, as the true vocal folds are in a thin state.
5. The Singer can slide through transitions of register from low to middle and middle to high with greater ease by employing Twang resonance.
Visit us at our official website: Daily Singing TipsFollow us at Facebook and Twitter!
- Ross Campbell
Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
Sunday 3 January 2016
Week 45: Twang (Part 1)
Continuing my series on relating 'Sound to the Anatomy' when training. I'm dealing with Twang for 3 weeks. #twang #singing.
1. The Twang sound is produced by the action of the aryepiglottic sphincter muscle, sometimes mistakenly referred to as another voice quality.
2. Twang alters the resonating chamber of the laryngo-pharynx and can affect the sound in all voice qualities. It is a resonating device only!
3. Twang is present in many languages & accents, is a safe way of using the voice, & can be clearly heard in the American & Australian accents.
4. Twang acts as a natural amplifying system for the voice, with the added benefit of requiring less work from the true vocal folds. #twang
5. Volume is achieved through resonance rather than just the effort of increased air pressure.Twang has the added benefit of clear projection.
Visit us at our official website: Daily Singing TipsFollow us at Facebook and Twitter!
- Ross Campbell
Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
1. The Twang sound is produced by the action of the aryepiglottic sphincter muscle, sometimes mistakenly referred to as another voice quality.
2. Twang alters the resonating chamber of the laryngo-pharynx and can affect the sound in all voice qualities. It is a resonating device only!
3. Twang is present in many languages & accents, is a safe way of using the voice, & can be clearly heard in the American & Australian accents.
4. Twang acts as a natural amplifying system for the voice, with the added benefit of requiring less work from the true vocal folds. #twang
5. Volume is achieved through resonance rather than just the effort of increased air pressure.Twang has the added benefit of clear projection.
Visit us at our official website: Daily Singing TipsFollow us at Facebook and Twitter!
- Ross Campbell
Professor of Singing, Royal Academy of Music, London Director & Head of Singing, Musical Theatre Ireland, MTI Award winning Author for ABRSM Songbooks 1 – 51-to-1 Vocal Training & Consultations availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
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