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.
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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, 24 January 2016
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
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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. 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
Sunday, 20 December 2015
Week 44: Relating Sound to the Anatomy (Part 4)
Continuing my series on relating 'Sound to the Anatomy' when training. I'm dealing with Volume this week.
1. Generally, an increase in volume is achieved by an increase of air pressure. This thickens the true vocal folds, referred to as thick folds.
2. When we contract the abdominal muscles of the Breath Support System, air pressure increases, the energy level heightens & Volume increases.
3. When less volume is required, the air pressure is reduced causing the true vocal folds to vibrate at the very edges, which thins the folds.
4. In piano #singing, the higher notes require a relative increase in air pressure, & the muscles of the breath support system must be engaged.
5. The bel canto exercise of messa di voce, is actually the transition from thin to thick vocal folds, & back again, on one sustained pitch.
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 availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
1. Generally, an increase in volume is achieved by an increase of air pressure. This thickens the true vocal folds, referred to as thick folds.
2. When we contract the abdominal muscles of the Breath Support System, air pressure increases, the energy level heightens & Volume increases.
3. When less volume is required, the air pressure is reduced causing the true vocal folds to vibrate at the very edges, which thins the folds.
4. In piano #singing, the higher notes require a relative increase in air pressure, & the muscles of the breath support system must be engaged.
5. The bel canto exercise of messa di voce, is actually the transition from thin to thick vocal folds, & back again, on one sustained pitch.
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 availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
Sunday, 13 December 2015
Week 43: Relating Sound to the Anatomy (Part 3)
Continuing my series on relating 'Sound to the Anatomy' when training & dealing with Pitch for a 2nd week this week.
1. As mentioned with Pitch last week, it has to be said that air pressure is not only related to Pitch. It also relates to Volume.
2. Increases and decreases in the air pressure can affect both the Pitch & the Volume (loudness and softness) of sound.
3. In training the voice it is important not to allow Volume to increase as the Pitch rises, as higher notes will become difficult to produce.
4. Relating Pitch to Volume, the Larynx will not be able to move properly in the throat if the air pressure from below is too great.
5. If the air pressure is too great, the nature of the sound produced can easily become driven or over-blown. Not healthy or the best sound!
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 availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
1. As mentioned with Pitch last week, it has to be said that air pressure is not only related to Pitch. It also relates to Volume.
2. Increases and decreases in the air pressure can affect both the Pitch & the Volume (loudness and softness) of sound.
3. In training the voice it is important not to allow Volume to increase as the Pitch rises, as higher notes will become difficult to produce.
4. Relating Pitch to Volume, the Larynx will not be able to move properly in the throat if the air pressure from below is too great.
5. If the air pressure is too great, the nature of the sound produced can easily become driven or over-blown. Not healthy or the best sound!
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 availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
Sunday, 6 December 2015
Week 42: Relating Sound to the Anatomy (Part 2)
Continuing my series on relating 'Sound to the Anatomy' when training. I'm dealing with Pitch this week.
1. Generally, the #pitch of a note relates to the anatomy in 2 ways: The position of the Larynx in the Throat & The Air Pressure in the Thorax.
2. For example, you can see the #Larynx rising in the Throat as the #pitch rises by using a siren, and lowering as the #pitch lowers.
3. 2 very general rules: 1.The Larynx is higher in the throat on high notes & lower on low notes & 2. Higher notes require greater air pressure.
4. If a singer has trouble attaining high notes, it may be that the larynx is not sufficiently high &/or there is not sufficient air pressure.
5. A discrepancy in the air pressure normally means the Breath Support System is not working hard enough. Note: The importance of Support!
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 availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
1. Generally, the #pitch of a note relates to the anatomy in 2 ways: The position of the Larynx in the Throat & The Air Pressure in the Thorax.
2. For example, you can see the #Larynx rising in the Throat as the #pitch rises by using a siren, and lowering as the #pitch lowers.
3. 2 very general rules: 1.The Larynx is higher in the throat on high notes & lower on low notes & 2. Higher notes require greater air pressure.
4. If a singer has trouble attaining high notes, it may be that the larynx is not sufficiently high &/or there is not sufficient air pressure.
5. A discrepancy in the air pressure normally means the Breath Support System is not working hard enough. Note: The importance of Support!
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 availablewww.rosscampbell.bizwww.musicaltheatreireland.iewww.rosscampbelluk.blogspot.com
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