1) Posture 姿勢 Body Position 身體姿勢 2) Breathing 呼吸 3) Breath Support ( 用氣 ) 4) Onset ( Attack ) 起音 5) Open your Throat? 打開喉嚨? 6) Vocal Register 聲區 7)

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Hilda Chase
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1 學校合唱團的聲音訓練 1

2 1) Posture 姿勢 Body Position 身體姿勢 2) Breathing 呼吸 3) Breath Support ( 用氣 ) 4) Onset ( Attack ) 起音 5) Open your Throat? 打開喉嚨? 6) Vocal Register 聲區 7) Example: Amazing Grace 2

Head 頭 upright, not tilting downward or upward Sternum 胸 comfortably tall with relaxed shoulders 舒適地挺直胸骨, 放鬆的肩膀 Raise hands above head, then slowly lowering them to your sides Hopping with one foot

3 Head 頭 upright, not tilting downward or upward Sternum 胸 comfortably tall with relaxed shoulders 舒適地挺直胸骨, 放鬆的肩膀 Raise hands above head, then slowly lowering them to your sides Hopping with one foot with hands on waist Hands Free No Chicken feet 鳳爪 Pelvis 盆骨 not tilting backward or forward (women have tendency to tilt forward) Knee 膝 No locking, flexible Feet 腳 Apart with distance of your shoulders, one foot is slightly in front of the other foot 3

4 Tongue Position 舌頭位置 Tip of the tongue gently touching the back of the lower teeth 舌頭尖輕輕地接觸下齒的後面 Back of the tongue flexible not tight Recommended exercises: [Ng e Ng e Ng e Ng e Ng e] on (Starting from F major and down to C major) [ga ge ga ge ga ge ga ge ga] on (Starting from C major and up to F major) 4

5 Articulators: Tongue or Lips? We are supposed to use our tongue more, rather than lips Less lips movement More legato (smooth) singing and unified sound would be achieved Important elements in Western bel canto singing ( 美聲唱法 ) 5

6 Mouth opening 張開嘴巴 Open mouth from TMJ Temporomandibular joint ( 顳顎關節 ) You should feel two holes around your TMJ if you drop your jaw properly In general, higher you sing, more vertical opening is needed. But don t open too much, as it will become Hung Jaw. You can determine your own maximum opening by putting your hands on your side face (with your mouth close), then you pull your jaws down with your hands. 6

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8 How much should I open my mouth? VERY IMPORTANT: One should not open his/her mouth too much in the middle and low registers 一般來說, 在中低音區域, 嘴不應該張太大 AND we need to open our mouth more when we sing high notes 當我們唱高音時, 我們需要更張大我們的嘴 8

9 High A-flat 9

10 A-flat above middle C 10

11 Inspiration 吸氣 Don t suck in air Noiseless breathing tension free Nose or mouth? Nose: Slower rate, but optimum temperature and moisture Mouth: Faster rate, but dry Expansion at the epigastrium area 腹上部雞心 (Right below the sternum 在胸骨之下 ) Use words like deep 深 or full 滿, rather than big 大 Expiration 呼氣 Slower rate: Maintain feeling of inspiration 11

12 Diaphragm 橫隔膜 12

13 Breathing Exercises 1. [si] exercise: Inspiration then hold the breath and count to 8 (in your mind, of course) with mouth slightly open then say [si] as long as possible 2. Knee bent, body tilts forward with head down and then do the [si] exercise 3. Sit on the front half of the chair, feet off ground, upper body leans backward (Caution: If you have back/neck problems, do not do this exercise), and do the [si] exercise 13

14 Common phrase used in a studio: Use your diaphragm! ( 用橫隔膜唱歌!) Or Support ( 用氣 ) But how? What is Support? For me, Active Muscle Activities 活躍肌肉活動 (ex. The feeling from the [si] exercise, particularly during the holding mode) Could we control our diaphragm ( 橫隔膜 ) directly? No, but you can use the epigastrium area muscle to control it. 用上腹部肌間接控制出氣的速度與密度 14

15 Our job as singers is When we breath in, the diaphragm descends, then it wants to go back to where it was immediately. Our job as singers is to SLOW DOWN the ascending rate of the diaphragm. 當我們吸氣, 橫隔膜下降, 但它立刻想要回到它的高位置我們作為歌手的工作是減慢橫隔膜的上升速速 How? Try not to let the epigastrium area muscle to go in during the first half of the phrase, then let it go in gradually during the second half of the phrase. (Easier said than done!) 怎麼能? 在樂句的前半句, 設法不讓腹上部區域肌肉縮入, 然後在樂句的後半句讓它逐漸縮入說來容易做來難! 15

16 Teaching kids to sing by Kenneth H. Phillips P. 195 Inhalation: the diaphragm descends (contracts) and the lower ribs expand outward, with a corresponding enlargement of the body around the waistline. Exhalation: The diaphragm ascends (relaxes) and the lower ribs contract inward, with a corresponding contraction of the body around the waistline 16

17 Contraction Definitions: The change in a muscle by which it becomes thickened and shortened The process in which a muscle becomes or is made shorter and tighter. Chinese translation: 收縮 The Chinese translation implies a relaxed way to let the abdominal muscle to go inward For me, that is not true, it should be a balanced struggle between wanting to go inward (the natural tendency of the diaphragm) and not letting it go inward too fast (Breath support) 17

18 Hygie ne de la voix (1876) by Dr. Louis Mandl To sustain a given note the air should be expelled slowly; to attain this end, the respiratory (inspiratory) muscles, by continuing their action, strive to retain air in the lungs, and oppose their action to that of the expiratory muscles, which is called lotta vocale, or vocal struggle. On the retention of this equilibrium depends the just emission of the voice, and by which means of it alone can true expression be given to the sound produced. Francesco Lamperti (a famous Italian voice teacher in the 19 th century) agreed with this statement 18

19 Breath Support 用氣 Remember: support refers to Muscle activities 肌肉活動 In general, we need more support (thus more active muscle activities) when the pitch is higher. 19

20 Breath support 用氣 : In or Out? ( 縮或突?) Put one hand on the place right below your sternum 雞心, say hi hi hi or simply laugh It s not just in or out 不是縮亦不是突 It s more like a bouncing 彈跳的感覺 Exercise: [si si si si i i i i i] staccato on , feel the bouncing all through the exercise 20

21 Initiation of sound Glottal ( hard ): Vocal folds adduction 聲帶內收 first, then breath flow Aspirate ( soft ): Breath flow first, then vocal folds adduction Coordinated: adduction and breath flow at the same time - PREFERRED 21

22 Onset ( Attack ) 起音 1. From above 從上 - Preferred 2. Direct 直接 too abrupt 太突然 3. From below 從下 Scooping 滑唱 22

larynx position 適宜的低喉頭位置, as a result, longer vocal tract 聲道 (tube inside your

23 Why do we need to open throat? Healthy vocal production and Resonance Open your throat means Comfortably Low larynx position 適宜的低喉頭位置, as a result, longer vocal tract 聲道 (tube inside your mouth) Raised soft palate/velum ( 軟口蓋提高 ), as a result, not using the nasal resonance ( 鼻共鳴 ) and more spacious vocal tract 23

24 How to Open your throat (Gola aperta)? Smelling Roses 聞花香 PLEASANT SURPRISE 宜人的驚喜 Yawning position does NOT equal to open throat position! Beginning of the yawn may be a better choice (But I would prefer to use something positive rather than negative ) 打呵欠時能唱歌嗎? 24

25 Pleasant surprise 宜人的驚喜 Expansion of the cheekbone area muscle 顴骨向上擴展 Chiaroscuro (Bright & Dark) 明暗對比 It s not just an upward lift, it s a TWO-WAY stretch (up and down) Raised soft palate + Comfortably Low Larynx 軟口蓋適宜提高 + 適宜的低喉頭位置 Do not wrinkle your forehead (so-called singer s forehead ) 前額不要起皺紋 Video Watching: Kiri Te Kanawa Smaller mouth opening for middle register More opening on the top Showing upper front teeth by raising cheekbones 25

26 One of the common used theories for adult singers: 1. High 2. Passaggio (Passage) 3. Middle 4. Low 26

27 Heavy Mechanism vs. Light Mechanism 胸聲和頭聲 Heavy Mechanism (so-called Chest Voice 胸聲 ) Use mostly Vocalis muscle 主要用聲帶肌 ( 聲帶最內層肌肉層 ); vocal folds shorten ( 聲帶短 ) Light Mechanism (so-called Head voice 頭聲 ) Use mostly Vocal ligament (the edge of the vocal folds) 主要用聲帶邊緣 ; vocal folds lengthen ( 聲帶長 ) Mixed Voice (Voce mista) Mixture of the Heavy and Light Mechanisms 27

28 Cricothyroid muscle 環甲肌 - LENGTHENING 聲帶拉長 Head voice Adam s Apple 喉頭 It explains well that why our larynx need to be lower when singing high notes From Basics of Vocal Pedagogy by Clifton Ware 28

29 Important requirements for singing Head voice 唱頭聲的重要要求 1. Correct head position, DO NOT jut jaw or tilt head back 正確頭位置, 不要突出下頜或頭向後 1. When approaching your passaggio - gradual vowel modification by opening month (dropping jaw) 當接近你的換聲區逐漸張開嘴巴 ( 下顎向下 ) 自然元音變化 29

30 Vocal Adjustment An Organic Process 歌唱的機能 In order to have an unified vocal sound, you need to adjust your vocal mechanism consistently 為了有統一的聲音, 你需要不斷地調整你的聲音機制 30

31 Vocal Adjustment An Organic Process 歌唱的機能 Low Register 低聲區 For women, the E-flat above middle C is the transition from middle voice to chest voice. The training method for this transition between soprano and alto is quite different. 在中央 C 之上的 E-flat 是中音與胸音的換聲區女高音和女低音訓練方法是相當不同的 Soprano: Lighter, Small mouth opening, Tongue forward, pleasant surprise, show your upper front teeth. 女高音 : 輕, 小嘴, 舌尖輕輕觸下齒的後面, 宜人的驚奇, 展示你的上牙 Mezzo-soprano or Alto: Starting from the the E-flat above middle C (downward), engage more chest voice gradually 女中音或女低音 : 從中央 C 之上的 E-flat ( 向下 ), 逐漸允諾更多胸音 Video Watching (from 4:46-5:36) 31

32 Vocal Adjustment An Organic Process 歌唱的機能 Middle register 中聲區 : 1. More like speech, more natural 像講話, 相對地自然 2. Mouth opening not too large 開嘴不太大 3. Middle of the tongue flat 平的舌頭 32

33 Vocal Adjustment An Organic Process 歌唱的機能 Zona di Passaggio (Register transition zone) 換聲區 1. Mouth opening becomes larger 逐漸張開嘴 2. Middle of the tongue relatively high 舌頭的中部不太低 Otherwise, the vocal placement will be too low, and the vibrato will be either too wide or uneven / 否則, 聲音位置會太低, 并且顫音將是太寬或參差不齊的 3. More velum lift 軟口蓋上升 33

34 Vocal Adjustment An Organic Process 歌唱的機能 High Register 高聲區 : 1) Mouth opening large 張開你的嘴 2) Relaxed tongue (the tip is still touching the back of the bottom teeth though) 放鬆你的舌頭 ( 舌頭尖仍然輕輕地接觸下齒的後面 ) 3) Even more velum lift 軟口蓋上升更多 4) Use chest support with more breath energy (abdominal muscle engagement) Please note: Chest support doesn t mean chest voice. It means a firmer sensation at sternum, it is an indirect way to engage the extrinsic muscle to stabilize the larynx. 胸口支持不意味胸音它意味一種實的胸口感覺, 這感覺間接穩定喉頭 34

35 Changing Voice If you want to know how to deal with changing voice, would recommend you to read Chapter 4 of Teaching Kids to Sing by Kenneth Phillips 35

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37 Phrase A Up and down Up: arpeggio-like / down: scale-like 1. Up: Lift on B-naturals, approach from above, do not push up. Make sure the note G between the Bs is light, not heavy. 2. Down: Getting lighter, not heavier, keep the sound bright and high with small mouth opening 3. Mini-crescendo on the long notes (except the word grace and sound ), to make the music move, also a good way to train breath control 37

38 Phrase B- Up 1. First half: Lift on B-naturals, approach from above, do not push up. Make sure the note G between the Bs is light, not heavy. 2. Like : Not heavy but light and bright 3. me : Lift + more mouth opening + approach from above + more support (abdominal muscle engagement) 38

39 Phrase C Up and down Mini-crescendo on Once 39

40 Phrase D Up and down Lower Register Bright and light with less mouth opening Mini-Crescendo on now 40

41 Phrase E Abridged version of Phrase A 41

42 Recommended Readings Teaching Kids to Sing by Kenneth H. Phillips ISBN: Chinese version also available: 歌唱達人 ISBN: Basics of Vocal Pedagogy by Clifton Ware ISBN:

43 Questions? Dr. Lo

Case Conference. Basic Information. Chief Complaint PMH PDH. 2013/06/22 台南奇美醫院 Reporter: 黃鈺芬醫師. Gender: female Age: 68 y/o Attitude: philosophical

Case Conference. Basic Information. Chief Complaint PMH PDH. 2013/06/22 台南奇美醫院 Reporter: 黃鈺芬醫師. Gender: female Age: 68 y/o Attitude: philosophical Case Conference Basic Information 2013/06/22 台南奇美醫院 Reporter: 黃鈺芬醫師 Gender: female Age: 68 y/o Attitude: philosophical Chief Complaint Pus discharge over upper anterior area for several days PMH PDH Hypertension