VOCALS
15 VOCAL TERMS : DEFINED ( PART 2 ) | Sheri Gould
This month I ’ m presenting Part II in a series where I am defining 15 commonly used ( yet often misunderstood ) vocal terms . To see the first four terms described , please refer to
November ’ s issue .
I will start with number 5 on our list : breath support .
BREATH SUPPORT Besides being the foundation of all proper vocal technique , breath support is also the means to many ends we strive for as singers . So , it ’ s important to understand just exactly what we mean when we say “ breath support ”.
Breath support is literally the proper use of the breathing muscles to support the airflow to the vocal cords . Ultimately , it ’ s the air that reaches the cords that produce the vibrations and subsequent sound , but the means of getting it there is what we are referring to as “ support ”. When inhaling , the diaphragm contracts , pulling the air downward through the trachea and into the lungs . During exhalation , the diaphragm relaxes and is pushed back upward by the abdominal muscles , expelling the air from the lungs . This process takes places hundreds of times a day quite unconsciously , but during the process of singing , we attempt to control the power with which the air is expelled . The controlling of that force is what we call “ breath support ”.
BREATH CONTROL Breath control differs from breath support only in the sense that the focus here is on the amount of air that is allowed to flow to the cords . So , when we refer to breath control , although all the elements of breath support are involved , we are strictly referring to the ability to control the flow of air to the vocal cords such that the singer has an adequate amount of air for the intended purpose .
GLOTTAL STOP 1 . A consonant formed by the audible release of the airstream after complete closure of the glottis . An example of a glottal stop would be the way we say “ uh-oh ”. The vocal cords are closed as the air from the lungs meets the vocal cords causing the cords to “ pop ” open . The use of glottal stops can be stressful to the vocal cords , especially during singing .
REGISTER 1 . A vocal register is a range of tones in the human voice produced by a particular vibratory pattern of the vocal folds . When referring to vocal registers or vocal registration , we are primarily referencing the different vibratory patterns and sounds the vocal can make . There have traditionally been four accepted vibratory patterns in the human voice although not everyone can produce all of these ( for example the male falsetto ). Traditionally the four registers have been identified as the chest , middle , head and male falsetto ( although many do acknowledge the
vocal fry register in their lower voiced male students and the flageolet or
whistle register in higher voiced females , many see these more as extensions of the lower and higher registers ).
Part of training as a singer involves learning how to bridge the register to create a seamless transition from one area to another . Exact definition of registers and registration can become a little confusing at times because we often describe where the resonance is being felt in the body as well . So the terms resonance and register can become somewhat intertwined .
INTONATION 1 . Accuracy of pitch in playing or singing . Since the advent of American Idol , the term “ pitchy ” has gained a lot of use . It has essentially become a replacement for the word intonation .
Having good intonation simply means to be able to move from one pitch to another properly and therefore sing in tune .
FALSETTO 1 . A method of voice production used by male singers , especially tenors , to sing notes higher than their normal range . There is much confusion today with regard to the falsetto voice . Often , today , the head register of females is mistakenly referred to as a falsetto voice . The clear distinction is that the true falsetto tone enables a singer to sing higher than their normal range ( not simply change the tone quality ). It is more a reference to a range and type of singing that is made by vibrating along only a portion of the vocal cords rather than full cord adduction .
FEMALE BREAK The female break , as it is often referred to , is a ‘ clunky ’ transition between registers . Without training , this shifting can become more and more pronounced causing frustration and mental anxiety in women especially when it is “ involuntary ”. Currently , because of the lack of training in so many contemporary singers , the female break has become a staple in the area of style . Traditionally and professionally , the transitions through the registers are blended and smoothed over with proper vocal technique . The female break is often mistaken for a transition to falsetto ( which woman don ’ t actually have ) leading to a lot of confusion between registration and proper vocal technique .
Next month I will conclude this series by defining the final four terms : Mask , Mixed Voice , Head Voice and Chest Voice . God bless you as you sing for Him !
Sheri Gould Sheri is an internationally acclaimed vocal coach . She ’ s been helping artists and worshipers find their voice for over 40 years . For help and resources visit her site . www . SheriGould . com