Audio Lesson: don’t sing loose

I thought I would put together a little audio lesson on singing with vowel compression.

Vowel Compression Li Vigni

Singing with vowel compression is about learning how to sing with firmly adducted cords as guided by the squillo, not by the muscular effort.  This is why it is very important to find the resonance through the EE and EH.  But there is no good resonance without keeping the larynx relaxed low.  Also, it is very easy enticing to try to get vowel compression by pressing the tongue’s root against the larynx – a temptation we ALL need to resist as tenors.

Anyway, if you have questions you can come to my facebook page and ask away.  The link is to the side.



4 responses to “Audio Lesson: don’t sing loose

  1. Thanks for that great demonstration. Even though I am a million miles away right now, it is nice to be able to hear your advice as if we are in the same room.

    – b

  2. Jack,

    Huge props for this. Its so fantastic to hear the exercise of voo-weh and how it effects closure. I’ll definitely put it in my warm up.

    I’m struck by your delineation of “modern sound” and older 5th harmonic sound. As a product of my time (aren’t we all?) it has taken a bit of time to accustom my ears to the older sounds, but as I age, I am thankful I’ve done so. Truly, the 2nd harmonic modern sound is more taxing on the vocal tract. But the historic sound lends a solidity that is healthier to manage while on the road during a career. Certainly it is a more bundled sound, more gathered and measured, but that is it’s saving grace.

    Couple things listening to the clip. Why is Pertile’s “-mor” different than yours (2nd note, I think it’s an E-natural)? You sing it open, he does not. Is this more adoption on his part of the oo set up? Why I ask is I always wonder how much the technology of historical recording plays into what I hear. I wonder sometimes if recording itself is hindering our understanding of older singing (eg sometimes what sounds closed is actually open due to captured harmonics in an inferior process and vice versa). I suspect it has shaped our ears and what we like to hear (which in turn shapes our expectations as to harmonic dominance). From a audio engineers stand point, 2nd harmonic, being closer to a “natural” sound, is an easier sound to record. It is less complex. More straight forward, like speech. Hats off to Jonas for seeking a different path.

    The cresc on the Tosca Bb is brilliant. THAT is great singing. Before my next few Tosca’s in the coming season I wanna get there and work. This type of taughtness is what I want to accomplish.

  3. Thanks again, Turiddu. You are right that I sang the E more openly than Pertile. I really wasn’t imitating what he did in the recording (not that I really could even if I wanted, hahaa). But my objective was to imitate the type of timbre of the voice… to show that it wasn’t just a natural timbre, but it was a deliberately compact sound.
    Thanks also for the positive comment about the Bflat of the Recondita. Just so this is clear, I actually didn’t do a crescendo; I just transferred from 5th harmonic strategy to a 2nd formant one, expanding the sound from the front of the mask to include the back of the head as well. This automatically causes a crescendo even though I did nothing to “grow” the sound.

Leave a Reply

Please log in using one of these methods to post your comment: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s