Vocal Production Lesson
5
Articulation: Creating Words that Communicate
This series was previously
published in The Pitch Pipe during the mid-90s. The series was so
popular during its first run we have decided to update it and bring
it back for an encore. This is the last article in the series.
By Betty Clipman, Houston
Horizon Chorus, Region 10
This series encore of vocal
production lessons began last July, when we talked about holding
the vocal instrument properly (posture). In the following issues
we discussed breath and proper breathing techniques, phonation,
the forming of sounds, and resonance, the amplification and enrichment
of tones. This is the final article in the series.
Articulation is the phase of
diction dealing principally with the action of the speech organs
in forming consonants.
As singers, we may have heard
the idea expressed that consonants are the ”bones” of
speech and vowels are the “flesh,” and also that “consonants
are the intellectual and ugly elements while vowels are the beautiful
and emotional elements” (from Foundations of Singing
by Van A. Christy, William C. Brown Company Publishers, Dubuque,
Iowa, 1979). The American Academy of Teachers of Singing adds, “The
function of a consonant is to interrupt the vowel without doing
violence to the tone.”
These are good images. But beautiful
articulation is more than organs, bones and interruptions. It is
the act of creating words that communicate the message of the song.
In order to form words that will be understood, and at the same
time communicate a message and its emotions, we must remember the
principles of resonance: keeping an open, relaxed throat and a rich
tone.
Often, when we have become sufficiently
familiar with the notes of a song and begin to think more about
the words, we concentrate on articulation and our delivery becomes
choppy rather than smooth and connected. Instead of forming consonants
that just barely interrupt the tone, we overemphasize them. In order
to avoid this choppy delivery, we must keep the rich, round, resonant
sound we discussed last time (April 2005 issue). This is especially
true for a cappella singers.
In accompanied vocal music there
needs to be greater emphasis on consonants so that words are understandable
to the audience over the instrument background. But because a cappella
singers perform without accompaniment, there is nothing to sustain
the momentum of the sound and the message of the song when a major
break occurs. In fact, when a cappella singers overarticulate, the
consonants stop the tone flow completely and there are “white
spaces.”
Many Sweet Adelines have encountered
the phrase “wall of sound” used by contest judges. In
our realm of music it is synonymous with the aggregate tone flow
produced by a quartet or chorus. When we overarticulate, we become
tense, our singing mechanisms become tight, we overemphasize consonants
and create a “picket fence” rather than a wall of sound.
Remembering that the tone rests on a cushion of air and on vowel
sounds, we must keep the tone flow open and relaxed, using as little
jaw action as possible in articulation.
Relaxation is a tremendously important factor. In addition to a
loose, relaxed jaw, we must attempt to disconnect the jaw from the
tongue and lips. The entire mouth should be loose and relaxed so
as to avoid overarticulation. As Van Christy says, “Let the
jaw relax so loosely that there is a feeling the singing is done
without the jaw.”
One of the best ways to understand
how to achieve an open, relaxed jaw and throat during articulation
is to sing an entire song on one open vowel sound, rather than voicing
the words. “Oh” is a wonderful vowel sound to use, while
thinking of the operatic, cultured production of that vowel and
the concept of singing “through” the vowel.
After practicing in this manner,
try to keep the same open, relaxed feeling as you add the words
of the song, thinking “oh,” but singing the words through
the open “oh” feeling. Ideally, the vocal line will
be an almost continuous tone, as it was when you sang the vowel
sound only. This exercise will help to produce the wall of sound
to which we aspire.
As you practice proper articulation, it will be helpful to know
a little more about the specific sounds associated with consonants.
For instance, most consonants cannot be produced on a pitch (you
cannot sing a sustained “B” sound) but there are a few
that can, such as M, N, L and V. These are called voiced or singable
consonants. It is important in articulation to sing through the
voiced consonants. These singable consonants also affect pitch;
the vowel that follows will always be flat if the preceding singable
consonant is under pitch.
Christy summarizes several rules
of articulation:
• Consonants must be thought on the same pitch as the vowel
they precede, to prevent the tonal attack from being scooped or
flat.
• Consonants should be articulated distinctly, freely and
flexibly, rapidly, and as naturally and plainly as in dramatic speech.
• Articulate the proper sound of each consonant; do not substitute
one for another.
• Make vowels long, consonants short. Do not shorten the complete
rhythmic length of the vowel by anticipating the ending consonant.
Overarticulation is more common
in singing than in speaking, because the mouth needs to be so much
more open in singing. The tongue and lips must move farther and
we must work harder to move them greater distances. This is even
more difficult in the high ranges; thus our tenors have a harder
job of articulating without tensing or tightening the vocal mechanisms.
Words tell the story of a song; they make it fun and exciting and
allow us to understand. So articulation is particularly important.
The primary goal for the a cappella singer is to achieve beautiful
articulation while creating as little interruption of the tone flow
as possible.
This series of articles has
touched on the five physical actions necessary for good vocal production
but we certainly have not discussed everything you need to know
to become a great singer. The quality of our voices is directly
affected by the quality of our vocal production. I encourage every
Sweet Adeline to seek continued vocal instruction and to take advantage,
with enthusiasm, of the private vocal instructions (PVIs) being
offered through many individual choruses and regions.
I wish everyone luck and continued
vocal improvement. Singing well is much more fun than singing poorly.
Each of us can experience growth as a singer and should always be
making an effort to improve our vocal skills. As I often say to
myself, “Be patient; God isn’t through with me yet!”
We are limited as singers only
by how good we think we can be. Approach singing with enthusiasm
and joy. Each time you sing, try to improve and experience continued
growth as a singer.
The exercises described below
will help you visualize and practice proper articulation.
Exercises for Achieving
Proper Articulation
Exercise 1
As a warmup, practice any tongue twisters you know: Peter Piper,
for instance.
Exercise 2
Trill the tongue. (Imitate a motorcycle revving up.)
Exercise 3
In order to help keep a relaxed, constant tone flow, review and
practice the five exercises for resonance that were presented in
the April 2005 issue. Loosening the tongue and jaw will assist in
a resonant tone flow as well as the delicate production of consonants
required in a cappella singing.
Exercise 4
Practice the exercise described previously in this article, singing
an entire familiar song on an open “oh” vowel sound.
Try to keep the open, relaxed feeling when you add the words.
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