Professional Documents
Culture Documents
Chapter 1
S From the moment you walk in, the doctor begins making
S Etc.
S Testing
S Temperature, pulse rate, blood pressure, etc.
S Areas where trouble appears frequently (eyes, ears, nose,
1.
2.
3.
What are the symptoms? What are the causes of these symptoms? What are the possible remedies (cures)?
vocal sound.
S Being able to change sounds implies that you know:
S The nature of sound S How musical instruments function S The relation of the vocal instrument to the physical
tone quality of artist performers against which you can measure the sounds you are hearing
Voice Science and Vocal Art, Part One: In search of common ground
(article)
Credits McKinney for showing a means of transmission of technical knowledge from teacher to student
Helding, L. (2007). Voice science and vocal art, part one: In search of common ground. Journal of Singing - the Official Journal of the National Association of Teachers of Singing, 64(2), 141150. Retrieved from http://search.proquest.com/docview/1403368?accountid=8459
Vocal Mechanics
(article)
Reed, C. L. (1997). Vocal mechanics. Journal of Singing the Official Journal of the National Association of Teachers of Singing, 54(1), 11-18. Retrieved from http://search.proquest.com/docview/1401688?accountid=84 59
Tell a student that his tone is less than perfect without hurting his feelings to such an extent that inhibitory patterns are set up S Positive terms S Be aware and respect personal feelings of each person
Problems encountered Corrective techniques attempted Results achieved Literature assigned Memorization Etc.
2.
3.
What are your goals as a singer? What do you hope to gain from studying with me? What previous vocal training have you had? Are you aware of any specific vocal problems that you have? What kind of songs do you most enjoy singing?
Checklist can be helpful S Can check: S Vibrato S Phonation S Intonation S Posture S Breathing S Support S Articulation S Etc.
first hearing become increasingly less likely to be heard with each subsequent hearing S The longer you teach a student without correcting a particular vocal fault, the more inclined you are to accept it as an inborn characteristic of that person and leave it uncorrected After listening to the student sing, find something positive about the performance to say before noting any vocal faults
Faults related to pitch Faults related to intensity Faults related to duration Faults related to timbre Faults related to sonance
Faults related to respiration Faults related to phonation Faults related to resonation Faults related to articulation
Faults of the tongue Faults of the jaw Faults of the lips Faults of the soft palate
S Hyperfunction
S
Faults in which there is too much activity or too much tension overuse
A Plan of Action
1.
What is wrong with the sound I am hearing? (recognize symptoms) What is causing it to sound that way? (determine causes) What am I going to do about it? (devise cures)
A Plan of Action
Recognizing Symptoms
S Audible Clues S Breathiness, Nasality, Vibrato, Intonation, Hoarseness, Volume level S Elements of vocal technique such as flexibility, diction, legato, range, and evenness of scale S Tone quality and resonance
S Visible Clues S Postural rigidity S Collapsed chest S Tight jaw S Furrowed brow S Raised shoulders S Tilted head S White knuckles S Knees locked back S Shaking legs S Heaving chest
A Plan of Action
Determining Causes
S Knowledge of the vocal mechanism and the physics of
sound
S There are natural singers who are excellent singers who are
ignorant of how the voice works, but they are usually poor voice teachers
Devise Cures
S Empathy S Try to feel in your own vocal mechanism the actions that are taking place in the student S Applied knowledge and gained experience S Accumulate as many cures as possible for each vocal fault. S Keep trying S Be resourceful, be creative, adapt your techniques, consult other teachers; keep searching until you find an answer.