i didn't know that! Issue #40- Female Falsetto
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Female falsetto
Courtesy of Wikipedia
Vocal range and voice classification
Singing and the definition of vocal range
While the broadest definition of vocal range is simply the span from the lowest to the highest note a particular voice can produce, this broad definition is often not what is meant when "vocal range" is discussed in the context of singing. Vocal pedagogists tend to define the vocal range as the total span of "musically useful" pitches that a singer can produce. This is because some of the notes a voice can produce may not be considered usable by the singer within performance for various reasons.
For example, within opera all singers must project over an orchestra without the aid of a microphone. An opera singer would therefore only be able to include the notes that they are able to adequately project over an orchestra within their vocal range. In contrast, a pop artist could include notes that could be heard with the aid of a microphone.
Another factor to consider is the use of different forms of vocal production. The human voice is capable of producing sounds using different physiological processes within the larynx. These different forms of voice production are known as vocal registers. While the exact number and definition of vocal registers is a controversial topic within the field of singing, the sciences identify only four registers: the whistle register, the falsetto register, the modal register, and the vocal fry register.
Typically, only the usable range of the modal register, the register used in normal speech and most singing, is used when determining vocal range. However, there are some instances where other vocal registers are included.
For example, within opera, countertenors utilize falsetto often and coloratura sopranos utilize the whistle register frequently. These voice types would therefore include the notes from these other registers within their vocal range. Another example would be a male doo-wop singer who might quite regularly deploy his falsetto pitches in performance and thus include them in determining his range. However, in most cases only the usable pitches within the modal register are included when determining a singer's vocal range.
Modal voice is the vocal register used most frequently in speech and singing in most languages. It is also the term used in linguistics for the most common phonation of vowels. The term "modal" refers to the resonant mode of vocal cords; that is, the optimal combination of airflow and glottal tension that yields maximum vibration.
In linguistics, modal voice is the only phonation found in the vowels and other sonorants (consonants such as m, n, l, and r) of most of the languages of the world, though a significant minority contrast modal voice with other phonations. Among obstruents (consonants such as k, g, ch, j, s, and z), it is very common for languages to contrast modal voice with voicelessness, though in English many supposedly voiced obstruents do not have modal voice in most environments.
In speech pathology, the modal register is one of the four identifiable registers within the human voice, lying above the vocal fry register and overlapping the lower part of the falsetto register. This view is also adopted by many vocal pedagogists, although some vocal pedagogists may view vocal registration differently. In singing, the modal register may also overlap part of the whistle register. A well trained singer or speaker can phonate two octaves or more within the modal register with consistent production, beauty of tone, dynamic variation, and vocal freedom.
The modal register begins and ends in different places within the human voice. The placement of the modal register within the individual human voice is one of the key determining factors in identifying vocal type.
Physiological process of the modal register
In the modal register the length, tension, and mass of the vocal folds are in a state of flux which causes the frequency of vibration of the vocal folds to vary. As pitch rises, the vocal folds increase in length and in tension and their edges become thinner. If a speaker or singer holds any of these three factors constant and interferes with their progressive state of change the laryngeal function of the voice becomes static and eventually breaks occur resulting in obvious changes in vocal quality. While some vocal pedagogists identify these breaks as register boundaries or transition areas between registers, other vocal pedagogists maintain that these breaks are a result of vocal problems caused by a static laryngeal adjustment that does not permit the necessary changes to take place within the modal register.
On the lower pitches in the modal register the vocal cords are thick and wedge-shaped. Because of this thickness, large portions of the opposing surfaces of the vocal cords are brought into contact, and the glottis remains closed for a considerable time in each cycle. The glottis opens from the bottom first before it opens at the top; this imparts a fluid, wavelike motion to the cords. The modal voice has a broad harmonic spectrum, rich in overtones, because of this rolling motion of the cords. It is comparatively loud to the other vocal registers because of the vibratory energy present, but is capable of dynamic variation.
For the lowest tones, only the thyroarytenoid muscles are active, but as the pitch rises, the cricothyroids enter the action, thus beginning to lengthen the folds. As longitudinal tension increases, the glottis tends to develop a gap in the middle. To counteract this tendency, the lateral cricoarytenoids are brought into action, pulling forward on the muscular process of the arytenoids. This process is sometimes referred to as medial compression.
In addition to the stretching of the vocal folds and the increasing tension on them as the pitch rises, the opposing surfaces of the folds which may be brought into contact becomes smaller and smaller as the edges of the folds become thinner. The basic vibratory or phonatory pattern remains the same, with the whole vocal fold still involved in the action, but the vertical excursions are not as large and the rolling motion is not as apparent as it was on the lower pitches of the modal register.
Interesting excerpts from Anne Karpf’s book, The Human Voice Consonants [give] meaning to the words and vowels [supply] the emotion … The feelings behind a Shakespeare speech (but not its meaning) can be communicated by pronouncing only the vowels (p. 42) With the exception of the muscles around the eyes, those of the human larynx have more nerves than any other muscles in the human body, including the hand and face, even though we only use around one-third of their capacity in speaking. Each can produce a different balance of forces in the larynx, generating a different pulse wave and sound quality. They’re our vocal palette: through them we colour our voices with affection, bitterness, pleasure, disgust, etc. (p. 27) Though complex communication sounds are emitted by a whole range of animals, only three groups of mammals: humans, cetacean (whales and dolphins) and bats, and three groups of birds: parrots, hummingbirds, and songbirds have to learn them. In all the rest they’re innate. (p. 48) More than half the world’s top 500 companies now outsource … to India, where over 170,000 people work in call centres. They must first complete a spell of ‘accent training’ … [where they learn to] repeat ‘can’t’ with a long ‘a’ after watching Rex Harrison in My Fair Lady. (p. 193)
I recently picked up the book by Malcom Gladwell, The Outliers.
The second chapter in the new book Outliers is titled The 10,000-Hour Rule. Malcolm Gladwell shares his research about people who become the best in their field, after putting in at least 10,000 hours of preparation.
”The closer psychologists look at the careers of the gifted, the smaller the role innate talent seems to play and the bigger the role preparation seems to play.”
Whether it’s Bill Gates, Michael Jordan, the Beatles, Mozart, or Warren Buffet, one can only get to their best after putting in 10,000 hours. If you put in 40 hours a week, that’s 5 years. If you only put in 10 hours a week, it will take 20 years. It’s the sheer hours of work that will set you apart from the rest.
Now, have you started to put in that 10,000 hours? My own personal experience of improvement indeed came after hours and years of sheer practicing for hours and hours everyday. It has indeed shown over my last 10 years of singing.
Understand that you don’t have to be born with extraordinary talent. Just find your passion and put in that 10,000 hours of practice and doing. You’ll surpass those with more natural talent and find success that you have never dreamt of. Nurture surpasses Nature.
Well, the only thing I don't quite agree on is that the book states that music teachers are those who put in less hours; I guess that is only true for those who didn't choose to be teachers but were assigned to be due to the lack of ability to perform professionally. Those who put in 10,000 hours to master their teaching skills; that will be one awesome music teacher. Well, at leas that is my goal.
From Shirlee Emmons:
Some Science Background on Vibrato, Tremolo, and Wobble
If you are not interested in the scientific studies of vibrato, feel free to skip this section, although reading it will undoubtedly clarify your thinking on the subject.
As long ago as the 1930s, Carl E. Seashore initiated a study of the vibrato. Until only very recently when the issue was raised again, by Ingo R. Titze among others—without conclusions as yet—the results have stood as a hallmark. Seashore’s definition of a vibrato is the traditionally accepted one: “A good vibrato is a pulsation of pitch, usually accompanied by synchronous pulsations of loudness and timbre, of such extent and rate as to give a pleasing flexibility, tenderness, and richness to the tone.” Several important points were revealed in the Seashore study, among which were these, roughly extracted from that study:
Teaching is not about what u know; its about how you lead, guide and develop your students to illumination and intellectual independence. Learn and use your senses, instincts - understand what your rational mind is trying to tell you through unspoken manner.
The hallmark of a good teacher, a good leader is his faith in himself- with that comes confidence and other tools.
I know many are keen on music education especially in the area of music teaching, here is a writeup taken from connexions-direct.com :) but do take into the context that this is written in the context of teaching in the UK. There are three main types of work for music teachers. They can either be: School music teachers may do extra work, such as tuition, rehearsals and concerts before and after school, or at weekends. They work mainly in classrooms and practice rooms. Private music teachers tend to work evenings and weekends, often in their own or pupils' homes. They may work school hours also, visiting local schools to teach music under an LEA contract. Salaries for school music teachers may range from £20,627 to £34,768 a year. Private teachers agree their own rates with pupils. The Musicians' Union (MU) and the Incorporated Society of Musicians (ISM) advise members on fee levels, taking into account a teacher's training, skills and experience. These can range from £20 to £50 an hour. Music teachers should: Music teachers work for state and independent schools, colleges and music services all over the UK. There are also opportunities with universities and specialist schools of music. Many private teachers are self-employed. Entry requirements vary depending on the type of employment. Those wishing to teach in state schools need Qualified Teaching Status (QTS). A postgraduate level qualification is usually required to teach in a music college conservatoire. While a teaching qualification isn't a requirement for private work, a teaching or performance degree or diploma from a recognised music college, conservatoire or awarding body can increase the chances of finding work. To work with children or vulnerable adults, music teachers would need to undergo checks through the Criminal Records Bureau (CRB). A mentor supports newly qualified school teachers during their induction year. Private teachers need to keep up to date with examination board syllabuses. The ISM, MU and Associated Board of the Royal Schools of Music (ABRSM) offer members access to professional development courses, including the Music Teaching in Professional Practice (Mtpp) distance-learning programme. Experienced music teachers working in schools and further and higher education establishments may progress to subject leader or head of the music department. Some might find work in an advisory capacity as a teacher or LEA inspector. Private and visiting teachers may move into music board examining, performing, composing or directing choirs or orchestras
As I have started on my new schedule of teaching and performing, I totally enjoy the new challenge of a brand new routine. Especially now that I have made a comeback in performing, I have soon come to realised that i have a whole list of essentials for every performance that is a must for me; resulting in me bringing a larger bag around:
1. File of lyrics (you never know when u need to sing extra songs)
2. Compact powder, lip gloss, eyelash glue, blusher
3. 500ml bottle of water (with a dash of honey)
4. Fortacold throat lozenges (the ultimate lozenges with manuka honey and propolis; stops all itchy throat)
5. Heels for stage (i go out in flats)
6. Extra dress/top (in case i spill a drink on myself)
7. Bread (for curbing hunger))
8. Ipod player
9. Nail polish (for last min chip)
10. Moisturizer (for cracking skin)
11. Sunglasses
12. Audio cable (in case CD fails to play; just plug in the ipod)
13. Umbrella (v v impt!)
14. Jacket (for cold locations)
Yep... A whole load of things I bring around for performance :) You shd try; this conquers Murphy's law!
There is always a crucial balance between technique and style in any song. One of the most frequent questions students ask me is “how do I incorporate great technique without giving away my lyrical interpretation, vocal stylization and improvisation?” You don’t give away anything. Instead, you add or build upon what is already there.
A great vocalist will always have a strong technical base from which to stylistically build from. I feel that “it is the difference between building a house on cement and one on sand.” Having a firm grasp on technique as it pertains to your voice gives you the power to make concrete stylistic decisions on what your voice is capable of. Your technique also aides you in finding what is right for the particular genre and song you are performing.
Songs are very specific and detailed in what it takes to make them shine stylistically and technically. If you the artist decide to give anything away in any song you sing it’s more than likely going to be technique. Remember, technique is your base so you must always keep it strong. If you follow this format you will always have the ability to create a stylistic masterpiece!
By Dave Brooks
Always Choose Audition Songs Appropriate to Your Age & Life Experience
Just because we like a song doesn't make it a good song for us to sing in an audition. In order to believably deliver the emotions of a song, you have to relate to the content of the lyrics on a personal level. Choosing a song that you can relate to emotionally is extremely important. There are lots of people who can sing well - what will set you apart is your ability to communicate emotion.
Always Choose Audition Songs in an Appropriate Style
What sets a show tune apart from other songs is its character. Don't choose an audition song that is nothing but a technically challenging tune unless you are asked specifically to display your technical skills. If you are unsure about the style you should be looking for, research about the previous auditions and also the show you are auditioning for.
Your Audition Songs Should Show Your Strengths First
Never choose an audition song just because you think that is what the audition panel wants to hear. When given a choice, always choose the best audition song you have to offer. Choose an audition song that is within your comfortable singing range - this is not the time to stretch for a note, as blowing a note will almost certainly also blow your chances for a role. The audition panel will expect you to show off the very best you have to offer, and this means performing a song that is well polished and well rehearsed.
Choose Audition Songs That Let You Be Yourself
Be the first you, not the 52nd Mariah Carey wannabe. Many auditioners have the tendancy to try and copy the style of whoever sang the recorded version of their audition song. DON'T DO THAT! Pick a song that you can identify with, and use it to show your own personality and style, not someone else's. Make sure you practice with only the accompaniment - singing along with a recording will not help you develop your own style.
Choose the Best Audition Songs for You
I see postings on discussion boards all the time, asking for audition song suggestions. What people seem to forget is that what makes a song right for you is your voice and personality, the two things that other people cannot see over the internet! If you want a truly great audition song, you'll have to search for it yourself.
Accompaniment For Your Audition Songs
There are three choices when it comes to accompaniment. The first is to use a piano accompanist, as usually one is provided. The second is to sing a capella. Finally, you can use recorded accompaniment.
It is important to be aware that not all auditions will give you a choice. Many auditions will insist that you use their accompanist. If you are given a choice, you need to be aware of a few factors that should influence your decision.
Accompaniment will keep you on pitch, and will fill in the instrumental sections of the piece. Live accompaniment also best mimics how you would be performing in the show, and demonstrates how well you can work with an accompanist. However, using an accompanist requires you to have sheet music in the correct key, and you will need to practice singing with the accompaniment before the audition. While using pre-recorded accompaniment makes rehearsing easy, it limits your ability to make creative changes in dynamics and tempo. Singing a capella should be done only when absolutely necessary.
Modified from MusicalTheatreAudition.com
Pure-tone audiometry is completed in a soundproof booth—a room with special treatment to the walls, ceiling, and floor to ensure that background noise does not affect test results. Only those sounds that the audiologist introduces into the room, either through earphones or through speakers located in the room, will be heard. Sounds may also be sent through a special headset "vibrator" that has been placed just behind the ear or on the forehead.
In testing hearing for tones, a pure tone air conduction hearing test is given to find out the faintest tones a person can hear at selected pitches (frequencies) from low to high. During this test, earphones are worn and the sound travels through the air in the ear canal to stimulate the eardrum and then the auditory nerve. The person taking the test is instructed to give some type of response such as raising a finger or hand, pressing a button, pointing to the ear where the sound was received, or saying "yes" to indicate that the sound was heard.
Sometimes children are given a more play-like activity (conditioned play audiometry) to indicate response. They may be instructed to string a peg, drop a block in a bucket, or place a ring on a stick in response to hearing the sound. Infants and toddlers are observed for changes in their behavior such as sucking a pacifier, quieting, or searching for the sound and are rewarded for the correct response by getting to watch an animated toy (visual reinforcement audiometry).
The audiologist uses a calibrated machine called an audiometer to present tones at different frequencies (pitches) and at different intensity (loudness) levels. A signal of a particular frequency (something like a piano note) is presented to one ear, and its intensity is raised and lowered until the person no longer responds consistently. Then another signal of a different frequency is presented to the same ear, and its intensity is varied until there is no consistent response. This procedure is done for at least six frequencies. Then the other ear is tested in the same way.
The frequency or pitch of the sound is referred to in Hertz (Hz). The intensity or loudness of the sound is measured in decibels (dB). The responses are recorded on a chart called an audiogram that provides a graph of intensity levels for each frequency tested.
In some cases, it is necessary to give a pure tone bone conduction hearing test. In this test, the tone is introduced through a small vibrator placed on the temporal bone behind the ear (or on the forehead). This method "bypasses" blockage, such as wax or fluid, in the outer or middle ears and reaches the auditory nerve through vibration of skull bones. This testing can measure functionality of the inner ear independently of the functionality of the outer and middle ears.
Air conduction test results indicate hearing losses that are either conductive or sensorineural. Bone conduction test results reflect only the sensorineural component. By comparing air conduction and bone conduction test results, the audiologist can determine whether there is a hearing loss due to a problem in the outer or middle ear. If air and bone conduction thresholds are the same, the loss is sensorineural. If there is a difference between air and bone thresholds (an air-bone gap), the loss is conductive or mixed.
American Speech-Language-Hearing Association
What is anxiety?
Anxiety can be a normal "alarm system" alerting you to danger. Imagine coming home and finding a burglar in your home. Your heart beats faster. Your palms get sweaty. Your mind races. In a situation such as this, anxiety can be helpful. It can add an extra spark to help you get out of danger. Under more normal but busy times, it can give you energy to help you get things done.
But sometimes anxiety may go out of control, giving you an overwhelming sense of dread and fear for no apparent reason. This kind of anxiety can disrupt your life.
Are there different types of anxiety?
Yes. Anxiety can be a general feeling of worry, an attack of feeling panicky, a fear of a certain situation or a response to a traumatic experience.
What is generalized anxiety?
Generalized anxiety disorder is ongoing worry or fear that isn’t related to a particular event or situation, or is way out of proportion to what you would expect - for instance, constantly worrying about the health of a child who is perfectly healthy.
Symptoms of generalized anxiety disorder include muscle tension, trembling, shortness of breath, fast heartbeat, dry mouth, dizziness, nausea, irritability, loss of sleep and not being able to concentrate.
What is panic disorder?
Panic disorder is another type of anxiety. It occurs when you have repeated periods of extreme panic, called panic attacks.
Suppose one day you’re getting out of your car and about to go to work. Suddenly your chest feels tight. Your heart races. You begin to feel dizzy and think you might faint. You start to choke. You feel as if the end is near. Was it all in your head? No. most likely, you had a panic attack.
Panic attacks last about five to 30 minutes and may include all or any of the symptoms listed. Panic attacks have often been confused with heart attacks, brain tumors or other disorders. They can lead to phobias if they aren’t treated.
Panic attack symptoms
Feeling like you’re going to choke
Chest pressure or chest pain
Pounding heart
Racing pulse
Dizziness or lightheadedness
Shortness of breath
Sweating
Trembling or shaking
Nausea
Tingling or numbness in the hands or feet
Hot flashes or chills
Sense of unreality or dreamlike sensations
Fear of losing control, doing something embarrassing, going "crazy" or dying
by Theodore Roosevelt:
A YEAR or two ago I was speaking to a famous Yale professor, one of the most noted scholars in the country, and one who is even more than a scholar, because he is in every sense of the word a man. We had been discussing the Yale-Harvard foot-ball teams, and he remarked of a certain player: "I told them not to take him, for he was slack in his studies, and my experience is that, as a rule, the man who is slack in his studies will be slack in his foot-ball work; it is character that counts in both."
Bodily vigor is good, and vigor of intellect is even better, but far above both is character. It is true, of course, that a genius may, on certain lines, do more than a brave and manly fellow who is not a genius; and so, in sports, vast physical strength may overcome weakness, even though the puny body may have in it the heart of a lion. But, in the long run, in the great battle of life, no brilliancy of intellect, no perfection of bodily development, will count when weighed in the balance against that assemblage of virtues, active and passive, of moral qualities, which we group together under the name of character; and if between any two contestants, even in college sport or in college work, the difference in character on the right side is as great as the difference of intellect or strength the other way, it is the character side that will win.
Of course this does not mean that either intellect or bodily vigor can safely be neglected. On the contrary, it means that both should be developed, and that not the least of the benefits of developing both comes from the indirect effect which this development itself has upon the character. In very rude and ignorant communities all schooling is more or less looked down upon; but there are now very few places indeed in the United States where elementary schooling is not considered a necessity. There are any number of men, however, priding themselves upon being "hard-headed" and "practical," who sneer at book-learning and at every form of higher education, under the impression that the additional mental culture is at best useless, and is ordinarily harmful in practical life.
Not long ago two of the wealthiest men in the United States publicly committed themselves to the proposition that to go to college was a positive disadvantage for a young man who strove for success. Now, of course, the very most successful men we have ever had, men like Lincoln, had no chance to go to college, but did have such indomitable tenacity and such keen appreciation of the value of wisdom that they set to work and learned for themselves far more than they could have been taught in any academy. On the other hand, boys of weak fiber, who go to high school or college instead of going to work after getting through the primary schools, may be seriously damaged instead of benefited. But, as a rule, if the boy has in him the right stuff, it is a great advantage to him should his circumstances be so fortunate as to enable him to get the years of additional mental training.
Self-confidence stems from believing in your own ability. Therefore, strategies that promote positive thinking and positive statements about yourself can be extremely effective. Some performers seem to have a natural tendency to think positively. They see the glass as half full. Others tend to be more pessimistic, dwelling on negatives, on doubts, perpetually seeing the glass as half empty.
If you want to have greater control over your own confidence levels, you will have to develop your own techniques to boost confidence. Most people indulge in some form of self-talk, a term describing what people say to themselves, either out loud or as a small voice in their heads. This talk will be either positive or negative; rarely is it neutral. Performers often demand perfection from themselves and can be very self-critical when they fail to attain it. This negative self-talk adversely affects subsequent performance. Therefore, it is important to counter negative self-talk and induce positive self-talk.
Self-talk can be task-related (e.g., "I must get the phrasing right in the third verse," or, "I must make sure of the preparation for the high B flat"). It can also be emotion-related, where the emotion associated with the experience is the focus of the statement (e.g., "I am afraid of failing in front of all these people").
A good exercise to start the process is this: write down typical negative statements or images you have experienced during practice, audition, and performance. For each one, note whether they are task-related or emotion-related. Then note what happens as a result, what emotions you feel, what effect the statement have on your behavior or performance, what happens to your own confidence.
The next step is to identify the negative thoughts and statements and when they typically occur. Through prompting at key moments and pressure situations you can begin to recognize them.
Turning negative to positive
The first step in changing negative statements is to identify the situations where negative statements regularly occur. This will enable you to change them into positive self-talk, which is more likely to elicit positive behaviors, thus greater self-belief and confidence. As an exercise, turn each negative statement that you identified into a positive one.
When to use self-talk
For most beneficial results, positive self-talk should be used in performance, especially at critical moments such as before stepping onto the stage, following a mistake, or before a difficult moment in the piece. To develop this skill, practice using positive self-talk in practice, e.g., in lessons and coachings. Initially, specific techniques or drills can be isolated to develop the appropriate self-talk in specific situations. Simulated performance can then be used to help you do this. These progressive steps will pave the way.
Remember, self-talk should:
∙ focus only on the immediate task,
∙ evoke strong positive emotions such the will to succeed,
∙ trigger appropriate action, such as the correct approach to a high note,
∙ be brief and easy to remember.
What singer has not at one time or another found it necessary to change his technical skills so as to improve vocally? Those singers who have well-developed imagery skills can more swiftly characterize the old way and the new way by feeling, by hearing and by seeing. In the end, they are much more adept at leaving behind the old technique and adopting the new. Such singers, in sum, practice better.
Singers with highly efficient imagery skills can focus more easily on the pictures, colors, and objects conjured up by their imaginative interpretation and not yield to the person in the front row who is blowing his nose so loudly; in short, those singers are better equipped to resist distractions.
Our results show that improving one’s imagery skills is not a difficult task. It simply requires learning the skills and understanding the nature of their application, the will to do this, and the time in which to do it. Imagery exercises are readily available in performance literature. If one were to count up the factors that lead to a successful singing career, imagery would play a large part in most of them:
The acquisition of dependable vocal technical skills;
The maintenance of a beautiful tone;
The capacity to remain in control, focused, and concentrated during the stress of performing;
The confident enjoyment of performance;
The power to transport an audience into the life of the composition by the singer’s sheer personal belief in self and the text.
It is difficult to think of another single skill that has so many applications to the art of singing. It is easy to believe that imagery is the language of performance. Voice teachers might well say to their singers: “Image your way to a successful career!”
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