I am continuing to cover "Voice Qualities" for several weeks relating 'Sound to the Anatomy' when singing.
1. The basic "Voice Qualities" I refer to in singing & which can define all genres of music are: Speech, Cry/Tilt, Sob/Tilt, Belt, & Falsetto.
2. Relative positions of the thyroid, cricoid and arytenoid cartilages & their effect upon the vocal folds create different Voice Qualities.
3. The position of the Larynx in the throat, whether high, neutral or low has great impact on the Voice Quality produced & can be controlled.
4. The most easily recognised quality is Sob/Tilt, sounding mellow & dark in timbre & of major importance in all styles of classical singing.
5. In order to create Sob/Tilt, the larynx is lowered and the thyroid is tilted, which positions the vocal folds at an angle above the airflow.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
I'm dealing with "Voice Qualities" for several weeks relating 'Sound to the Anatomy' when singing.
1. A "Voice Quality" refers to a type of sound we can produce, & which is directly related to movements of the component parts of the larynx.
2. A "Voice Quality" is determined by the position of the larynx in the throat & how the moving parts of the larynx relate to each other.
3. A learned component, such as the native spoken language & regional accent, can also determine a "Voice Quality".
4. Before naming the Voice Qualities I refer to when training a voice, it is important to state that I do not subscribe to any 'Method'!
5. Before embarking on Voice Quality usage next week I here state my singing influences: Bel Canto, Husler, Estill & my own extensive research!
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
This is Week 2 on Vowels, paying particular attention to individual Vowels.
1. a pronounced 'ah', the most common vowel which tends to pull the tongue backwards & lower into the throat, sometimes depressing the Larynx.
2. a pronounced 'ah': Small mouth opening, tongue-tip against lower teeth, awareness of hard palate in upper mouth, back of tongue more raised.
3. e pronouned 'eh': The most naturally retracted of all vowels. Tongue-tip behind lower teeth, middle blade of tongue raised & forwards.
4. i pronouned 'ee': Tongue-tip behind lower front teeth, fully relaxed lips, sides of tongue pushing into upper molars when rising in range.
5. o pronouned 'oh': Tongue-tip behind lower teeth, lower middle blade of tongue, small mouth opening, and widely stretched pharynx.
6. u pronouned 'oo': Tongue-tip behind lower teeth, raised & forward placed middle blade of tongue, keeping lips relaxed & not overly pursed.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
I'm dealing with our usage of Vowels within singing for 2 weeks, both in the part they play & any difficulties posed by certain formation.
1. Vowels are what we sing. Whilst we can pitch a consonant, we cannot actually open up a pitched consonant into open throated singing.
2. The Vowel clearly belongs to the note or pitch. Singers need to develop the centre of the pitch together with the centre of the vowel.
3. Vowels are all initially formed & produced from the back of the tongue before individually being further shaped governed by pitch.
4. An invaluable exercise is to build song repertoire into the singing voice using only the vowels of the words within seamless legato lines.
5. It is important for singers & their teachers to build a selection of exercises into the voice which work on ALL vowels equally.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Further information & tips on troubleshooting vocal inconsistencies & difficulties during this week
1. Pitch is determined by a combination of the position of the larynx in the throat and the air pressure powered by the breath support system.
2. High notes are easier when the larynx is relatively high in the throat, the vocal fold mass is relatively thin & airflow is finely balanced.
3. Cracking on high notes usually occurs when there is too much air pressure beneath the vocal folds & the larynx is not high enough.
4. Thorough preparation in the body in advance of a high note, & realising that “high” does not mean “loud”, will resolve forcing & cracking.
5. Carrying power of a voice depends on correct balance of air pressure & use of resonators; loudness and carrying power are different issues!
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Further information & tips on dealing with recognising & remedying vocal inconsistences & difficulties during this week.
1. If a student of singing has difficulty recognising differences in pitch, then aural training to correct this has to be the first step.
2. In order to correct poor tuning, make sure that the larynx is moving freely in the throat & that the breath support system is energised.
3. A Bleat is a fast, unpleasant vibrato which is produced when the singer attempts to control the airflow with the True Vocal Folds.
4. Bleat occurs when Vocal Folds adduct too tightly. Airflow in singing should be controlled by the breath support system, not by the larynx!
5. Singers must learn to control gear changes by controlling the relative thickness of vocal folds & the position of the larynx in the throat.
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
Dealing with recognising & remedying vocal inconsistences & difficulties this week. An experienced diagnostic ear is essential in teaching.
1. Muscular action controls the breath support system, movement of the larynx, engages the resonators & alters the shape of the pharynx & mouth.
2. If muscles are working properly, the voice will emerge as desired, but imbalanced muscular actions will adversely affect the emerging sound.
3. Collapsed Posture is a misalignment of the spine. When present, the breath support system & anchoring systems for the larynx won't work well.
4. The Larynx cannot function properly if the back of the neck is collapsed & the jaw is protruding. Alignment of the spine is crucial here.
5. Tone deafness is a very rare condition. Singing in tune is a function of correct breath support & position of the larynx in the throat.
Visit us at our official website: Daily Singing Tips
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Ross Campbell
Professor of Singing, Royal Academy of Music, London
Managing Director & Head of Singing & Music, Musical Theatre UK, London
MTI Award Winning Author for ABRSM Songbooks 1 - 5
1-to-1 Vocal Training & Consultations available
www.rosscampbell.biz
www.musicaltheatreuk.com
www.rosscampbelluk.blogspot.com
