Vocal Technique: A Physiologic Approach

249 Pages·2016·6.665 MB·English

by  Jan E. Bickel

Vocal Technique
A Physiologic Approach
Second edition

Contents
Preface. How to Use This Book Effectively vii
Acknowledgments ix
Singer Information Sheet xi
1
Some Answers to Questions Before We Begin Developing a Vocal Technique 1
2
Anatomy of the Singer’s Instrument: Design and Function 15
3
Establishing Correct Posture for Singing 31
4
Breath Management for Singers 45
5
The Physiology of Vocal Tone Production 59
6
An Introduction to Articulation and Lyric Diction for Singers 91
7
Developing Beautiful Tone Quality, Resonance, and Freedom 127
8
Keeping Your Voice Healthy 137
9
Beyond Vocal Technique: Becoming an Artistic Performer 165
1 0
Science and Technology in the Voice Studio 183
Appendix I. Musical Terminology for the Voice Student 191
Appendix II. Music Reading Skills for Beginning Singers/Musicians 195
Appendix III. Vocal Performance Evaluation 203
Appendix IV. Practice Record Sheet for Voice Students 207
Appendix V. Sources for Art Song and Aria Repertoire for the Singer 211
Bibliography of Selected Reference Materials 215
Index 219
v

Preface
How to Use tHis Book effectively
As a university voice teacher for more than 30 years, to make great strides as they initially learn about
I worked with many students with varying interests and begin to understand the technical aspects of
regarding the technical aspects of singing. Most of the process, and then the growth process slows
my students have had graduate school and profes- somewhat while the brain and muscle connection
sional singing goals in mind when beginning studies “catches up.” Do not be frustrated by seeming pla-
at the undergraduate level; some have wanted to teaus in your learning. As the muscles learn to obey
become professional teachers of singing, and others the commands of the educated brain, the complex
only to improve their vocal technique so they could inter-workings of the anatomic system will begin to
find more personal fulfillment from their endeavors come alive and work for you. It takes time, patience,
as singers. This book is appropriate for all of them! and perseverance!
I am of the opinion that a singer must know Use this book to gain as much knowledge as
and understand the anatomic and physiologic func- you possibly can in regard to the technical aspects
tions connected with the speaking and singing pro- of singing; that is, anatomy, posture, breath manage-
cess in order to feel “in control” of that process. In ment, physiology, articulation, and resonance. Use it
addition, this knowledge will enable the singer to also to help you begin to learn to apply the impor-
maintain optimum technical skill and vocal health tant International Phonetic Alphabet (IPA) to the
throughout a long singing and/or teaching career. languages typically used by singers, and to help you
A singer who knows and understands his or her learn about good health and nutrition for all people.
own body will necessarily be a better singer and a Take all of these concepts and make them your own.
better teacher of singing. This book is based on that Apply as much information as you can to your own
premise. Knowledge is power! situation and think carefully about how the informa-
This book is intended for use in in voice les- tion can help you become the best singer you can
sons or a voice class at the college or university be. Then, be a discoverer! Go out and read more
level. Portions of it may also be suitable for teaching books and articles on the subjects contained in this
voice at the high school level, where students are book. Gather more facts and opinions, which will
interested and dedicated to learning a strong vocal help you in establishing your own personal vocal
technical foundation. As you read this book, do not technique.
hesitate to utilize the exercises given here as well Those who aspire to be professional singers or
as those assigned by your voice teacher. Practicing teachers of singing should pay particular attention
regularly what you are learning in voice lessons or a to the health and nutritional aspects of this book.
voice class is the only way to improve dramatically! You are your instrument, and being a professional
You must come to know your voice intimately in singer or a teacher of singing requires a tremendous
order to utilize it to its fullest potential. You can only amount of energy and excellent health in order to
do this with many hours of practice in the privacy be successful. Begin now to study the appropriate
of your own home or practice space. eating and exercise suggestions, and begin to make
I have found, over the years, that vocal progress them a habit for the rest of your life. A healthy body
is somewhat different than the progress made by is a necessity for a life in the professional world of
instrumentalists studying technique. Singers seem singing and/or the teaching of singing!
vii
viii VocAL technique: A PhySioLogic APProAch
Following a voice class or initial voice lessons, course. Since you will want to have your students
you should expect to go on to study privately with singing vocal repertoire throughout the entire learn-
a voice teacher for many years. A class in vocal tech- ing period, it might be helpful to teach the informa-
nique is merely a beginning to a lifelong process tion in Chapter 6 — An Introduction to Articulation
that requires daily practice and study in order to and Lyric Diction for Singers, in sections; that is,
achieve success. After you successfully complete a teach the general International Phonetic Alphabet
voice class at the high school or collegiate level — or as it applies to the speaking language of your stu-
a year of voice lessons — you should, however, have dents first, and then develop one language at a time,
a strong foundation on which to base your choice beginning with English, Italian, or Spanish, and then
of voice teachers and vocal technique. There are moving on to the more difficult German and French
probably as many vocal techniques as there are languages. You may also choose to have your stu-
voice teachers, and choosing the right teacher and dents sing only in English and Italian in a beginning
technique for you is very important. Use the body voice class, and save the other languages for later in
of information you gain from this book to make their development.
decisions in this regard, but also continue to read I have found it helpful to teach posture and
books on technique and interpretation, as well as breath management first, and then return to Chap-
poetry and foreign languages. You will want to read ter 2 — Anatomy of the Singer’s Instrument: Design
other books in the area of music as well if you wish and Function. If you use the correct anatomic and
to become a professional musician. Begin now to be physiologic terms when teaching posture and breath
a lifelong learner! management, your students will find Chapter 2 much
I wish you well in your vocal studies and hope easier to understand and remember because they
you gain much knowledge and insight from using will have heard much of the terminology before they
this book! read Chapter 2. Then you can proceed to any of the
other chapters that seem appropriate for your par-
Jan Bickel ticular students. Some voice teachers like to teach
the information on keeping the voice healthy very
early in the semester, which is a very good idea.
Please feel free to move around the chapters of the
A Note to Voice teAchers
book as they seem to fit your teaching style and the
learning style of your voice students. The chapters
There are a variety of ways to use this book in your do not necessarily need to be taught in the order
teaching. If you use it for a voice class, I suggest presented here. If you have questions, please do not
that you assign Chapters 1, 3, and 4 very early in hesitate to contact me via the companion website
the learning period. Teaching posture and breath for this book. I will be happy to assist in any way
management is essential to every other aspect of the that I can.
Acknowledgments
As I complete the revisions for the second edition of of Richard Miller and William Vennard. I have read
Vocal Technique: A Physiologic Approach, I continue their works in depth and, even though I know it is
to realize how many colleagues have influenced my impossible to learn to sing well from a book, it is not
singing, my voice teaching, and the concepts I pre- impossible to gain insight into the complex process
sent in this book. I am, of course, indebted to my through their writings, and I am indebted to each
own voice teachers: in particular, Madame Sonia of them for their pioneering work.
Sharnova of the Chicago Conservatory of Music I am also indebted to the students in my voice
and the Chicago Opera Company; Kathleen Kaun, studio, and my voice studio and voice classes at
who worked with me at Northwestern University; Saint Xavier University, where I taught for 30+ years.
and Wilma Osheim of the American Conservatory Their patience and enthusiasm regarding this book
of Music. Their guidance and encouragement of have been most rewarding for me as a teacher and
my own vocal technical and interpretive skills can a writer. My deepest thanks goes to my colleague
surely be witnessed in these pages. I am so proud and friend, Martha M. Morris, Professor Emerita, and
and thankful to have begun my voice studies with former Director of Instrumental Studies and Music
Susan Stevens Daily at Saint Mary’s College at Notre Education, at Saint Xavier University. Thank you for
Dame, who discovered that I had a voice worthy your unending support and encouragement in my
of the singing profession, and taught me to be a work as an educator, a singer, and a writer.
holistic singer and a lifetime learner and discoverer. I am so fortunate to enjoy the talents of my out-
I continue to use all of the vocal and musical con- standing illustrator, Douglas Klauba. Thank you for
cepts she taught me as an undergraduate student, your generous assistance, your keen eye, and won-
and am so appreciative for her outstanding guid- derful artistic skills in making the technical concepts
ance and support in my early music studies. She perfectly visually clear for the teachers and students
continues to be a wonderful voice teacher and an who will use this book.
inspiration to me personally! A very special thank you to my team at Plural
I am indebted to the many colleagues whose Publishing — Valerie Johns, executive editor; Kalie
presentations, seminars, writings, and quiet conver- Koscielak, my project editor; cover designer, Marissa
sations led me to put these words on paper. I have Young; and Jessica Bristow, production assistant.
benefited frequently from individual members, as Thank you all for your unwavering support and
well as collectively, from the work of the National your outstanding artistic work to make this book
Association of Teachers of Singing and the Voice the best and most beautiful it can be, and also to
Foundation’s annual conferences in Philadelphia. Angie Singh, President of Plural Publishing, for your
Although Dr. Robert Sataloff, MD, DMA, does not continuing support of my work and the work of so
know me personally, he has had a tremendous influ- many other authors over many years!
ence on my singing and my teaching of singers. To everyone who encouraged me to write this
I thank him for his tireless efforts in reaching the book, to pursue publication, and to go forward with
pedagogic community with his medical and vocal revisions and the expansion of materials for this
expertise through seminars and print media. In addi- second edition, thank you!
tion, I have been strongly influenced by the work
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