Vocal pedagogy
Resonance
Vocal Resonance
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Magnification of sound
Required in speech and singing
All voices are resonant to differing
degrees
May be used to describe power or
quality
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A resonant voice/a warm resonance
Resonance vs register
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Registers are produced by the vocal
cords – chest register
Resonances affects the way the tract
above the vocal folds affect the sound
so it is bigger or different.
Brainstorm
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What are the structures affecting
resonance of the voice
Brainstorm
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Structures which affect Resonance
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Velum
Sinuses
Size and shape oral cavity
Tonsils and glands
Tongue +/- root tension
Jaw
Epiglottis
Brainstorm
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Factors causing change in usual
resonance
Brainstorm
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Factors causing change in usual resonance
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Physiological factors
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Psychological factors
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Mood change, energy, fatigue
Neurological factors
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Dryness
Motor or sensory
Illness
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Colds, infections, tonsillitis, sinusitis
Volume
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Bigger resonators make a bigger sound
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Male voice vs female
Also depends on way the sound is
produced e.g. child's loud voice.
Where are the resonating
chambers?
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Howell 1994 talks about the “myth of resonating
chambers in top of head, above eyes, chest.”
Sell 2005 head and chest resonance are “sensations
of sympathetic vibrations” Aiming for these
resonators can be vocally damaging
Titze 2001 sinuses do resonate but the airborne
sound changes minimally by these resonations.
Abitbol 2006 considers chest cage and lungs to be
amplifiers
If we hear it and feel it is it there?
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We may hear what we think is chest
resonance and the performer may feel
it but if we placed a microphone at the
chest we would not pick up that sound.
Also a performer may sound no
different whether clothed or naked!
Many resonators
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Shewell cites examples of teachers who
believe in 40 or even infinite sites for
resonance. Grotowski states that the
most useful approach is to use the
whole body as a resonator
Summary of opinion
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The parts of the body where the sound waves can be
shaped are the pharynx, oral and nasal cavities
There are parts of the body where we may feel
sympathetic vibrations but they do not actually
produce sound vibrations even though we may feel
them internally or by touch
There are other parts such as sinuses and chest,
where we feel vibrations but there is disagreement
about whether the sound is actually resounding in
there.
Resonances vs Qualities
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Shewell 2009
To acknowledge the physics but to
recognise that the voice sounds
different so the description can be that
of a “resonant quality”
We will look at three resonant qualities
Head resonance quality
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This gives the impression of a bright
ringing tone which will cut across noise
Typically this is mage by a narrowing of
the pharynx at the level of the epiglottic
by a tightening of the aryepiglottic
folds. The sound may be nasal or not.
Nyaah nyaah nya nyaah nyaah
Oral resonance quality
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This gives and impression for forward resonance
and a clarity to articulatory sounds. Without it
sounds sound rather maffled. A practical
consequence maybe that the voice becomes
pushed or strained to compensate for the lack of
projection.
It is helped by forward tongue position and
active lip movement.
Excess oral resonance with less head and chest
can sound weak, thin. This may occur when
nerves take over.
Chest Resonance Quality
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Sounds like vibrations in the thorax. This give
the voice a sense of warmth, depth and
authority. In women when coupled with a
breathy quality it gives the classic “sexy
voice”
A low larynx is important in gaining this
resonance
Should feel at pitches below 300Hz (Middle C
261Hz) if not voice may be pressed
Balanced resonance qualities
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“The more we can use our resonances
the easier our vocal life becomes
because we allow ourselves to cut back
on effort and tension” Rodenburg 1992
Practical
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Shewell 2009
Preparation for resonance work involves
rubbing, shaking, jiggling and jumping
To access strong head resonance
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Chewing the drone
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Humm. Keeping lips closed chew and move
lips, tongue, jaw and facial muscles. Hear
changes in resonance. Put your fingers in
your ears to increase awareness of
resonance changes.
Nasal murmur
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Make ng and move lips for ooh-waah
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Twang
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Nyaah nyaah nya nyaah nyaah
Quack, Baa, witch laugh-hee hee, miaow
Bugs Bunny “Ehh What’s up Doc?”
Count 1-10 keeping the ring
Oral resonance
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“Who would know aught of art must
learn and then take his ease”
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Resonance ladder. Whisper notice change
in vowel then speak
Pigs snout
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Make ooh tap lips with middle three fingers
then stop but feel sound still flowing
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Contrast nasal and oral resonance
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Ngaa Ngee Ngoo
Initially all nasal to all oral
Three steps with nasalised vowel
To develop chest resonance quality
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Chest Beating while intoning different vowels
and resonances
“Charles’ heart was far harder than Mark’s”
with open throat, lowered larynx breathy
voice and low pitch.
Breathe out then quiet deep “huh”. Note
where the movement happens and where
the sound feels like it is coming from- middle
of body?