DE LA CUSTODIA Y VIGILANCIA DE FONDOS Y VALORES

aggiustamento

There are no timbre demarcations in the scale of a good singer, unless introduced for coloristic purposes; the skillful singer appears to have but one register. Neither the demands of articulation nor the search for resonance sensations must be permitted to fragment the scale. Appelman (1967, p. 90) cites vowel modification as an aim of the bel canto period:

One of the objectives of the singers of bel canto was the development of a vocal scale that was pure, unbroken, and uninterrupted. The transition of registers—either up or down the scale—demanded a modification in the tonal color of the topmost notes to prevent them from becoming dis­ agreeable and harsh and to preserve the quality of the vowel sound as well as an even tonal line.

The front vowels (singers often call them "high") have formants that produce brilliance and "ring." Back vowels (singers frequently term them "low”) have lower formants and strike the ear as being less brilliant (see Figures 4.2 and 4.5). The combination of rising pitch and high form ant vowel in singing results in spectral patterns that produce "open" or "white” quality.

To counteract the tendency toward "open” sound, front vowels may be modified in rising pitch so as to reduce the incidence of higher harmonic partials. Pedagogical opinions vary as to how aesthetic demands can be met by this modification. Some singing teachers locate a spot in the ascending scale of each category of voice at which the tone must be “covered.”

"Covering” encourages fundamental changes in the mechanical function of the larynx, and alteration of the shape of the resonators, accompanied by a sensation of additional spaciousness in the pharynx, by a high velum, a low tongue, and a lowered larynx, thereby increasing "depth” in the tone. These actions alter the harmonic spectra, and the tone is darkened by the heavier mechani­

Vowel Modification in Singing 151 cal action of the entire vocal instrument. Pedagogies that already tend toward overuse of the heavy mechanism recommend “heavy and early cover.” Pronounced "cover” may be dangerous.

Brodnitz (1971, p. 36) comments:

Singing with pronounced covering requires more air under increased pressure, and it involves considerable muscular tension. Moderate use of covering is part of the necessary and not harmful technique of the dramatic singer. Unfortu­ nately, it is often used in excess, particularly by singers who try to sing dramatic parts with basically lyric voices. In that instance it is very dangerous and may lead to a permanent deterioration of the voice.

There can be little doubt that in desirable “closed voice” (voce chiusa), a timbre that should prevail throughout the singing voice regardless of range, as opposed to "open voice” (voce aperta), there is a stabilized laryngeal position—relatively low—and a somewhat widened pharynx. These conditions together with proper vowel mod­ ification (aggiustamento) produce the so-called "covered” sound of the upper range.

However, because of the tendency to make too much of a good thing (overcorrection is a major pitfall in the teaching of singing), and because of the diversity of meanings attached to the term "cover,” it may prove useful to avoid the term and to speak of vowel modification rather than "cover” as the passaggio zone is reached. Some understanding of the underlying physiologic and acoustic fac­ tors of such modification certainly will help in removing nonm atch­ ing timbres in the vocal scale.

Often teachers of singing assume that "openness” characterizes all good singing, when in fact, the lowering of the epiglottis may be part of the "covering” action. No extensive study on the contribution of the epiglottis to "covering” has yet been undertaken. However, fiberoptic observations seem to indicate that where there is the omega-shaped epiglottis (the so-called "infantile” epiglottis) there is frequently an inability in the adult male to achieve voce coperta ("covered voice”) with ease. It is probable that limited participation of the epiglottis (at a nonproprioceptive level, of course, just as is the case in vowel differentiation) is necessary to filter out the strident timbre traditionally associated with voce aperta (voce bianca). Some low-voiced males who exhibit the omega-epiglottic structure seem never to negotiate the upper regions of the voice in satisfactory manner. Before definitive conclusions can be reached, a large number of subjects must be studied.

152 The Structure of Singing

When subglottic pressure and airflow are commensurate with the need for balanced, resonant sounds in the singing voice, some epiglottic participation in general sphincteral activity may uncon­ sciously take place. (One of the reasons the laryngologist asks patients to sing a falsetto "ee” is that the epiglottis is positioned per­ pendicularly and does not get in the way of an examination of the vocal folds as it does in the back vowels. Obviously, "covering,” with its introduction of vowel modification in the direction of the back vowels, has some relationship to epiglottic position.)

How does one interpret the limited scientific information on "covering”? Are researchers aware of tonal ideals different from those exhibited by their subjects? Do we approve of the sounds made by the subjects? Do we agree with the aesthetic demand that fosters the pedagogy which has produced those results? For exam­ ple: "The general impression is that the quality of the voice is 'darker' in singing, somewhat as it is when a person yawns and speaks at the same time; voice teachers sometimes describe the effect as covering.”

The same source (Sundberg, 1977a, p. 84) goes on to say that "It is interesting to note that voice teachers tend to agree that the pharynx should be widened in singing, and some of them mention the sensation of yawning. In other words, a low larynx position and an expanded pharynx are considered desirable in singing.”

However, the extent of pharyngeal distention and of laryngeal depression varies from school to school. Indeed, it may be that the prevailing viewpoint among teachers of singing is that pharyngeal expansion and a relatively low-positioned larynx occur as a con­ sequence of proper inhalation and remain during the well-managed breath cycle, and are not induced by conscious localized actions. Stretching the pharynx and forcefully depressing the larynx are con­ sidered by many teachers to be artificial means of vocal production, contributing to that much "darker” voice of the Nordic schools, a coloration that a large segment of the singing profession wishes to avoid. One does not question the research methods but rather the narrowness of the field from which subjects may have been chosen.

Sundberg continues: "The lowering of the larynx, then, explains not only the singing formant peak but also major differences in the quality of vowels in speech and in singing.”

He adds (1977a, p. 88), perhaps in response to auditory experi­

ences: "The singer does pay a price however, since the darkened vowel sounds deviate considerably from what one hears in ordinary speech.” [Emphasis added] But should vowels have major differences in quality from speech to singing? Which aesthetics do we follow?

Vowel Modification in Singing 153 The oft-quoted statem ent of Pacchierotti, “Pronunciate chiaramente, ed il vostro canto sara perfetto” ("Pronounce clearly and your sing­ ing will be perfect”) is a basic tenet of the historic Italian School; it would appear to endorse a different aesthetic viewpoint from that which produces the "dark” voice. To claim that "open” or "white” timbre was then the aim is to ignore evidence from the literature itself. (Nor should one accept the highly questionable notion that a singer uses one approach for dramatic literature and another for lyric singing.) Heavy "covering,” as found in northern schools, is to be avoided not only because it causes language and diction distor­ tion, but because it distorts vocal timbre.

Is it possible to remain free during singing while constantly depressing the tongue, spreading the pharyngeal wall, maintaining an extreme velar elevation, and lowering the larynx excessively—all concomitant with the yawn? Is the text intelligible in any part of the voice? Despite the need for vowel modification in upper range, lan­ guage sounds should always remain defined in artistic singing. A fault of vowel distortion should not be raised to a pedagogical tenet. Teachers of singing, except in certain Nordic schools, tend not to want a "dark” voice that resembles the timbre one hears when a person "yawns and speaks at the same time.”

The alternative to the depressed larynx is by no means a high laryngeal position. Slight laryngeal descent with initial inspiration for singing is normal. If the singer is already in the "noble” position, very little descent of the larynx takes place upon inhalation. In any event, following the slight descent that accompanies inspiration, the larynx should then remain in a stabilized position. It should neither ascend nor descend, either for pitch or power, beyond the minimal require­ ments of vowel and consonant articulation. It should stay "put.” The singer's physique determines the degree of depression.

Researchers Frommhold and Hoppe (1966, p. 89) did a series of experiments devoted to laryngeal movements during singing, relat­ ing the larynx posturally to the cervical vertebrae. A summary of their findings underscores the need for a stabilized laryngeal position during singing:

In an investigation of the problem of voice production in trained singers, the movements of the cervical vertebrae were studied by means of tomograms, as providing a fixed bony point of attachment for the extrinsic laryngeal mus­ culature. Important postural differences were found depen­ dent upon the level of training and ability of the singer. Out­ standing international artists were conspicuous without exception for a constant posture over the entire vocal range,

154 The Structure of Singing

whilst students showed increasing tension resulting in kyphosis (changes in the angle of the axis between the ver­ tebrae II and VI), isolated distortions and also gliding movements in individual segments. [Emphasis added]

It should be noted that some drawings of "low larynx production” in pedagogical treatises show the cricoid cartilage in an exceedingly low position. Sometimes, in these techniques, laryngeal depression is practiced apart from phonation, to "strengthen the depressor mus­ cles” and to "anchor” the larynx. As a result of such postures, very little space remains between the mandible and the sternoclavicular joint, with the larynx wedged between them. The larynx can be retained in this posture only through the antagonistic activity of muscles of the neck and upper torso. Can this produce freedom in the singing voice?

Before leaving the subject of conscious laryngeal depression, it may be well to take a more direct look at sensation within the larynx itself during singing, as experienced in several pedagogies.

Most singers, regardless of pedagogical allegiance, are aware of even the slightest sensation within the larynx (as every laryngologist who deals with singers knows). Even normal phonation and pho­ nemic articulation may be registered in the consciousness of the trained singer. These sensations often are interpreted (perhaps not without some basis in fact) as stemming from "resonance” within the larynx. It is not yet clear to what extent the ventricles of the larynx contribute to the singing tone, but there is evidence from tomo­ graphic studies that "covering” the voice while retaining the "ring” may have to do with increasing the ventricular space.

Some of the laryngeal sensations during singing may probably be disregarded, but any excessive awareness of sensation in the larynx is the result of unnecessary antagonism of the intrinsic and extrinsic laryngeal muscles. Sensation in the larynx means lack of freedom in the larynx. It should be the perceptions of the ear, not the kinesthetic perception of muscle setting within the laryngeal area, that occupy the singer's consciousness.

There is an appealing kind of false logic to conscious throat adjustment for the accomplishment of "covered” tone. The separate actions of "roominess” complement each other. A summary of this faulty viewpoint follows: A deep groove in the tongue runs to the back of the pharynx so that the tongue seems to have been gotten out of the way, permitting emergence of pharyngeal tone: As a result of the deep tongue trough, the soft palate is stretched upward reveal­ ing a large area of the oropharynx, sometimes described as heart­

Vowel Modification in Singing 155 shaped; the descending larynx, via the hyoid bone, pulls down on the root of the tongue, an action which has been term ed “the downward pull of the yawn”; the pillars of the fauces (which connect with both the tongue and the palate) are stretched, an action thought to be an asset inasmuch as muscular tension may contribute in producing the right kind of “twang” in the timbre.

Can this “logic" withstand the test of freedom of action, of func­ tional efficiency? Do such techniques correspond to what is known about the action of the articulatory mechanism? Can the demands of language, agility, ease in breath management, and the dynamic events of registration be accomplished with freedom? What are the results of this vocal philosophy?

In the male voice, trained by the premises just outlined, such heavy throat adjustments as a means of “covering” produce a dark vowel sound already at the primo passaggio (see chapters on regis­ tration); by the secondo passaggio, vowels have been modified to a neutral condition, or to a back vowel, even if they are front vowels. For example, a baritone trained in this “heavy production,” when singing an arpeggio on [a] in the key of Eb, may well have "covered” the vowel to [o] by the time the fifth pitch of the scale (Bb) is reached, and may be singing something close to [u] or even [uj on arrival a;t the top of the arpeggio at Eb4, producing an effect of [a, o, o, u, o, o, a], although the vowel [a] is indicated throughout the passage.

In contrast to this radical phonemic shift in vowel structure and mechanical adjustment in the pharynx, in the historic Italian School concentration is on graduated vowel modification. Flexible adjust­ ment of the vocal tract must be permitted in order to define all vowel form. In the best singing of the international school, adjust­ ment of acoustic postures defines vowels at any level of pitch.

The sole purpose of aggiustamento is to modify the formation of ascending vowels so that upper pitches may match the over-all tim­ bre of the unified scale; adjustment of the vocal organs necessary to rising pitch (and power) automatically occurs when the acoustic laws of vowel differentiation are allowed to function without mechanical falsification of the vowel.