Home Vocal Wisdom

page - maxims -
a seminar on the teachings of
Masters of the "bel canto" school of singing
Some thoughts:
A Maxim is a truth. One truth opens the door to all
truth.
"Bel canto" - literal italian "beautiful singing" which
are the proclaimed ideals of purity of vowels,
flexability and legato.
"These teachers (bel canto masters) made few rules, but
insisted on obedience to natural laws, which are
physical, not anatomical. The ear, not the muscles,
guided both master and pupil..." Wm. Earl Brown
If the student asks, the answer is no.
Define the goal in singing: to create a stream of expression which
is born of and captivates the soul, to find the love of self that
permits love of others and of life, to discover the joy of giving
of self that nourishes the soul.
Motivate the goal: to feel and live out the high and beautiful
plane of consciousness which unites mind and body in song, and in
giving a performance, to receive the return of energy and love from
the souls of the listeners
Choose a path toward the goal: decision to be a "singer in
training" for life, resolve to cultivate a beautiful art form,
acceptance of the identity of a singer
Keep the goal out in front: priorities, a daily plan and a master
plan, an unfailing sense of purpose, unconcerned about comparative
competition, a race with oneself, measuring progress by then and
now, not them and me, focused and forward moving.

Exercises: not the part for which we became singers, but the only
way to excell. Make the exercises become elemental and fascinating
to mind and body, like meditation.
Create a singing environment.
Never sing an indifferent tone. Never sing "by wrote." Never
waste your time or the patience of your listeners by being
uninvolved. Have the courage to lose yourself, but never
relinquish control.
Three elements to all musical tones:
Attack - Sustain - Release
Three ideals of the bel canto singing tone:
Legato - Pure Vowels - Flexability
Group exercises:
Posture - Breath - Tone initiation - Sustenuto - Release
The singing cycle - continuous
Vowels - resonance colors and forms
Tuning the tone
Speech and Singing - What is the difference? What is the same?
Get in touch with the many ways we breathe:
Continuous, cyclical breathing - cooling the soup, blowing out a
candle, sneezing, yawning, coughing, being cold, hot, out of
breath, relaxed, sleeping, scared, relieved, sighing, surprised,
gasping, lifting something heavy, defacating, giving birth,
releasing...
Get in touch with the many ways we vocalize:
Speaking, humming, laughing, mumbling, shouting, giggling...
Two main reasons for Stage Fright:
Underprepared
Overprepared
Crowds are frightening when they are milling around in the
reception area. Once they are seated and quiet, ready to listen,
they are organized into one collective consciousness, your
relationship to an audience is one on one. You can handle that.
If you know yourself, know your song, you can forget them both and
be a performer, with trust and without trepidation.
Because your singing is a product of the imperical laws of physics,
you cannot fail.
All thing being equal, the human singing voice fascinates more than
any musical instrument.
If you express the music and the words, you will hold your
audience.

Elizabeth Parcells
Learning at the Detroit Opera House
July 9 and 10, 1998
 Syllabus
Voice Class at Schoolcraft College
Teacher – Elizabeth Parcells
Pianist – Gene Bossart (Larry Picard)
Notebooks, writing materials, and music paper
Books (Vocal Wisdom, exercise and technique books, pedagogy materials)
One Piano in the Forum, or in a large studio
Practice room availability for students between classes

Voice Class I – Elements - Beginners

A voice class for young or beginning singers, or for singers wishing to refresh their focus on the
elements upon which the cultivation of the singing voice is built. The class will include a series
of lectures (hopefully sho rt) on these elements, as well as the development of a workbook of
vocal exercises for daily practice. Students will learn how to create individual vocal training
routines for their own voices, how to work autonomously and in the group to train and strengthen
their voices, coordinate and utilize the breath, educate and tune their hearing, and build awareness
of the nature of their singing.

Students participating will have three songs prepared, at least one of which is in Italian. No opera
ari as please. Students will sing for the class and receive instruction.

Voice Class II – Cultivation - Intermediate

A voice class for singers of intermediate level or for singers wishing to refresh their
understanding of the study and cultivation of the singing voice. The class will include a series of
lectures (maybe not so sho rt) on the study of language and literature for singing, of musical and
vocal style and presentation, as well as a continuing discussion of singing techniques and vocal
training. Students will learn how to make use of vocal techniques to meet the requirements of the
music they are singing, to train and work with language and phonetics in their vocal exercises and
repertoire, developing a workbook for individual study. They will build awareness of musical
and vocal style and of expression in their singing.

Students participating will have three songs prepared, at least one of which is in a foreign
language (preferably Italian, French or German), and may present selected opera a ri as which are
appropriate to their level of ability. Students will sing for the class and receive instruction.

Voice Class III – Performance - Advanced

A voice class for singers preparing for a career in singing, or for advanced singers wishing to
learn the a rt of performance before an audience. The class will include a series of lectures (very
short indeed) on various performance practices, deportment, etiquette and stage presence.
Students will present their repertoire to the class and will receive feedback and guidance on their
performances. This class will be conducted in the "master class" format.

Singers participating will have eight pieces prepared from song, oratorio and operatic repertoire.
They will submit usable English translations of their repertoire to print in a conce rt program.
They will be prepared to perform this repertoire before the class as well as before an audience in
proper performance a tt ire at a public performance.
 Schoolcraft College
Voice Class 2000

Elements in Singing
Essay by Elizabeth Parcells

With quotations from

"Vocal Wisdom — the Maxims of Giovanni Ba tt ista Lamperti"
Singing — the Mechanism and the Technic by William Vennard

Expression
Singing has had as many forms as there have been singers through the ages and all over
the world. It is like a fingerprint, unique to each individual. Lamperti: "Each voice is a
law unto itself." Singing, like the smile, is a universal form of human expression. There
is a theory that mankind began to sing before it learned to speak. If this is so, singing
must be so elemental to our being and so imbedded in our culture that one could
reasonably surmise that we must all be accomplished natural singers.

Lamperti: "The human being is the most perfectly adjusted musical instrument in
existence."

It is safe to say that the potential for great singing slumbers in us all. Every healthy
individual is given a pair of lungs and vocal cords, learns to speak an d is taught a few
songs in early childhood. The difference between the many who sing and the one who
becomes a singer is as mysterious as the phenomenon of individuality itself. Everyone
can sing; but the singer must sing.

Lamperti: "What is the sensation of being ready to sing? It is a subjective feeling

associated with the insistent desire to sing!"
 Elements in Singing Page 2
An Essay by Elizabeth Parcells

Singing is the outward expression of our thoughts and desires. Lamperti: "Your a rt is the
fulfillment of your elemental desire to sing." It can be as spontaneous as a smile or as
cultivated as an ari a. The purpose is the same, to satisfy the compelling desire to express
oneself.

Lamperti: "Don't sing until you'd die if you didn't."

There is another impo rt ant distinction to be made between those who sing and the singer;
many people sing for their own enjoyment, but the singer edifies his audience, not just
himself The singer cultivates his art an d masters his craft to make his singing appealing
and expressive.

Of the many forms of singing that exist; the Italian Bel Canto (beautiful singing) style is
the undisputed standard for classical, operatic singing. It began in Florence some 500
years ago when ce rt ain ideals for singing were established, the three most impo rt ant
being:

1. Pure Vowels — The words of the poet are served by the music. The singer learns to
form clear, beautiful vowel colors to express those words, not only for their linguistic
meaning, but also for the aesthetic quality of the language itself, lending a variety of
colors to the singing tones.

2. Legato — "the carrying of the voice or the imperceptible merging of one tone into the
other. Between one tone and the next the breath may not be interrupted, but must be
held as though the tones were one." The smooth movement from one tone to the
next, creating expressive phrasing and beautiful line.

3. Flexibility — The ability to sing a wide range of notes at any given speed, in any
given dynamic, with a wide r an ge of colors, on one breath.

These three ideals are the elements of classical singing technique, as we know it today.
These are the techniques that singers train for years to master. The three ideals are
attainable through one vital element: the breath. This element delivers energy, stability
and movement to the singing tone. There is hardly a fault in singing that cannot be
 Elements in Singing Page 3
An Essay by Elizabeth Parcells

blamed on poor management of the breath. The hallmark of great singing is awesome

breath energy and control.

Beyond pure technical elements, great singing depends on the artistic personality of the
singer, which develops through cultural influences an d education. Lamperti: "Utilize

your time studying piano, the theory of music, and reading at sight. Broaden your

knowledge of literature, painting, etc. the `beaux art s.' This increases your `desire' for

beauty, from which springs the instinct to sing."

Nowhere in these ideals is the quality or quantity of physical "voice" mentioned.

Lamperti: "It matters not whether your voice be phenomenal or even beautiful, if
it expresses the music and the words you will have an interested audience. The
largeness of that audience depends upon the quantity of personality you are able
to put into your performance. If you are magnetic, the world is yours."

The elements of expression in singing then are

• vocal technique

• musical language

• artistic personality.

We can do little to change the nature of our voices, but we can accomplish much in

mastering technique and developing an artistic personality. Those who feel that their

natural voices are less than ideal can take heart. The voice, by itself, is not an element

of expression. Despite all the modem debates about size and scope of voices, as if

singers were merely walking amplifiers, one truth remains: A great performance is

moving and memorable because it is expressive.

Lamperti: "The Soul of a Singer

The soul of a singer demands technique of both voice and breath before
it will emerge as tone. Intense vibration and adequate energy must be
ever available.
Overtones are its colors:
Rhythm is its heartbeat:
Resonance its body:
 Elements in Singing Page 4
An Essay by Elizabeth Parcells

Vowels the forms it assumes:

Consonants are its hands:
Emotion is its lifeblood:
Imagination its ears and eyes:
Thought its feet:
Desire its wings:
Melody is its language.
The soul of a singer is the subconscious self.
It can use the body and mind only after these are disciplined by the
conscious self."

A Brief Discussion of the Breath

Breath or breath energy is the most basic subject of study for the singer. The reason is
that the singing tone is impossible without it. What modern person studies and exercises
his breath today, besides the athlete and the singer? Most people are unaware of their
breath or posture most of the time. Of course, they will never excel at singing. Many
singers and teachers of singing neglect the breath in lessons and practice out of boredom
with the subject or because of lack of understanding. It is the single most impo rt ant
element in the production of the singing tone.

Lamperti states: "A tone must be self-starting, self-prolonging and self-stopping."

To make this possible, complete management of breathing is an indispensable
necessity. Generally, faulty singing is caused by awkward respiration. In fact, all
bad habits of the throat are merely efforts of protection against clumsy
management of the breath.

The exercise of the breath by itself seems a d ry and useless activity for the singer that
wishes to make sounds and not to merely draw air in and (out. Therefore, it is wise to
consider the exercise of the breath as part of every vocal exercise.
There are three types of breath or respiration in singing:
• Abdominal or Diaphragmatic (low)
• Lateral (middle)
• Intercostal or Clavicular (high)
 Elements in Singing Page 5
An Essay by Elizabeth Parcells

The ideal method is considered to be the first one, abdominal. Nevertheless, it is a

combination of these breath types that comes into play, depending on the demands of the
music.

Establishing good posture is the first step toward educating the breath. An exercise to
draw the singer up to full height and to open the ribcage allowing space for the abdominal
muscles to move and work should begin the singer's exercise session. Consciousness and

energy of breath will carry the voice over the initial tones in the exercises.

Abdominal (diaphragmatic) breathing should be the focus of attention in practicing the

breath, since this type of low breath is rarely called upon in daily life. A singer needs to
get in touch with his low breath. The athlete knows this type of breathing, because he
will resort to it during phases of heavy exertion. The marathon runner knows it because
it is the most efficient way to exchange the air in the lungs without undue effo rt during a
long race. The singer prizes the low breath for the ability to inhale a large amount of air
without effo rt in a sho rt time.

The muscle responsible for the inhalation of air is the diaphragm. This muscle, shaped
like an upside-down bowl an d located horizontally between the upper and lower thorax
(below the heart and lungs, but above the stomach an d liver), is the strongest muscle in
the body, next to the heart itself. When it contracts, it displaces the organs of the lower
thorax, creating space in the upper thorax for the lungs to expand, drawing in air to fill
that space. When the diaphragm releases, the lower thorax organs can return to their "at
rest" positions, space in the upper thorax decreases, and the air in the lungs is exhaled.
Normally, this cycle of inhalation and exhalation takes place throughout our days and
nights without our giving it much attention
 Elements in Singing Page 7
An Essay by Elizabeth Parcells

breathing rates. This is useful for the singer to understand, in not only building the

strength and flexibility of the singing voice, but also for handling stressful situations such

as the singing of demanding music or nerves and excess adrenalin during performance.

The singer breathes like a weightlifter; passive inhalation, active exhalation. The

diaphragm is so adept and strong, it can manage inhalation without strain or effo rt . The

active exhalation requires the muscles of the abdomen to contract, pushing the lower

thorax upward and forcing the air to escape from the lungs quickly and forcefully. This

blast of air can be turned into sound by allowing the vocal folds to be sucked together and

vibrate. However, an uncontrolled blast leads to more of a shout or a grunt than a

pleasing musical tone.

In this case, controlling the flow of air is imperative for the singer. The abdominal

muscles can be trained to deliver the correct degree of contraction to move the air

through the vocal cords at the correct rate. However, it is the counteraction of the

diaphragm that is the key to breath control. Again, this fascinating muscle is capable of

its task without much thought on the pa rt of the singer. When the "abs" contract, the

diaphragm reacts with contractions of its own to balance and counterbalance the abs,

controlling the amount of air pressure brought to bear against the larynx. This means that

the larynx is not forced to react with contractions of its own to inhibit the excess flow of

air and the vocal cords can vibrate "freely."

There are several points to keep in mind at all times when singing, whether during
vocalizing or the singing of music:

• You must be conscious of your breathing at all times, monito ri ng your breath
capacity and watching for opportunities to inhale additional air according to
current needs, which can have changed with the situation

• The breath is in motion at all times, it never arrests during tones or between
phrases, as in speech; the singing breath is always moving

• Your posture must never collapse or go lazy; never breathe or sing indifferently
 Elements in Singing Page 8
An Essay by Elizabeth Parcells

• Breath energy gives the tone and the diction its energy, projecting your voice and
words into the hall to your listeners; never allow your energy to flag

• Use economy and efficiency by gauging your situation and taking what you
need, no less and no more. Run your race wisely.

A brief discussion of Singing Tone upon the Breath (Attack)

The tone itself begins in the larynx where the vocal cords or folds are located. As air is
exhaled, the la rynx takes up a position so that the folds can be drawn together by the flow
of air and begin to vibrate. The effect that causes this was described by and is named for
the physicist Bernoulli. This aerodynamic effect also describes the theory of loft and
flight, explaining the motion of air molecules over and under a foil or an airplane wing.

To imagine how the Bernoulli effect causes the vocal cords to vibrate when air is passed
between them (through the glottis which is the space between the vocal cords), visualize

an American flag in a steady, stiff wind; drawn up and fluttering. This fluttering is much

like the vibration of the vocal cords. Now visualize the flag in a gentle, fluctuating

breeze; its motion is very different, it moves and waves, but there is no "vibration" along

its edge. The flag is entirely passive, and therefore entirely dependent on the wind to
make it move and flutter.

Think of your vocal cords the same way, as passive and reliant on the stream of (exhaled)
air for their vibration as the linen flag upon the wind. This exhaled air is something you
control. Your vocal tone is an effect which you control indirectly via the direct control of
your breath.

So the initiation of singing tone upon the breath is possible by aerodynamic effect,
without muscular effo rt in the throat, the way flight is possible upon the movement of air,
without flapping the wings. Students of singing learn this concept so that they
understand the impo rt ance of breath management for achieving fr ee and "effortless" tone
production.
 Elements in Singing Page 9
An Essay by Elizabeth Parcells

A brief discussion of Formants and Vowels

Having drawn breath and initiated tone in the larynx, the next pa rt of the singing tone
equation is the formant or vowel. It is the shape of the vocal tract, that is the spaces
around the vocal cords known as resonators, which determines the color of the tone.

Points to remember:
• any resonator is a secondary vibrator
• the vocal resonator is a column of air within a space or chamber, not a "sounding
board"
• the shapes of the vocal resonators are complex and highly va ri able

These spaces include the pha rynx, the nasal cavity, the mouth, and to some extent, the
trachea. These spaces are resonating chambers. The mouth and pha rynx can change
shape, largely by movement of the tongue, lips and jaw, also by positioning the la rynx.
The nasal cavity and trachea have little capability for changing their shapes.

The resonators are capable of vibrating as a whole or in several ways at once in its pa rt s.
Most vibrators do this, creating timbre, which consists of several frequencies of different
intensities sounding together. (Vennard)

With this diversity of colors available to the singer, it is hard to imagine why some
singers choose to sing almost entirely on one vowel color, muddying their diction and
making their singing monotonous. The problem may well lie in an insufficient breath
and a throat fighting to compensate for this lack of breath energy. A tone that is well
supplied with and supported by breath energy is capable of infinitely more nuance and
expression.
 Elements in Singing Page 10
An Essay by Elizabeth Parcells

The vowels pronounced in speech are formed by positioning the tongue and/or lips, the

formants. These formants change the shape of the resonators of the voice, changing the
timbre of the singing tone.
 Home Elements in Singing
page
Essay by Elizabeth Parcells

With quotations from

“Vocal Wisdom – the Maxims of Giovanni Battista Lamperti”
Singing – the Mechanism and the Technic by William Vennard

Expression
Singing has had as many forms as there have been singers through the ages and all over
the world. It is like a fingerprint, unique to each individual. Lamperti: “Each voice is a
law unto itself.” Singing, like the smile, is a universal form of human expression. There
is a theory that mankind began to sing before it learned to speak. If this is so, singing
must be so elemental to our being and so imbedded in our culture that one could
reasonably surmise that we must all be accomplished natural singers.

Lamperti: “The human being is the most perfectly adjusted musical instrument in
existence.”

It is safe to say that the potential for great singing slumbers in us all. Every healthy
individual is given a pair of lungs and vocal cords, learns to speak and is taught a few
songs in early childhood. The difference between the many who sing and the one who
becomes a singer is as mysterious as the phenomenon of individuality itself. Everyone
can sing; but the singer must sing.

Lamperti: “What is the sensation of being ready to sing? It is a subjective feeling

associated with the insistent desire to sing!”

Singing is the outward expression of our thoughts and desires. Lamperti: “Your art is the
fulfillment of your elemental desire to sing.” It can be as spontaneous as a smile or as
cultivated as an aria. The purpose is the same, to satisfy the compelling desire to express
oneself.

Lamperti: “Don’t sing until you’d die if you didn’t.”

 Elements in Singing Page 2
An Essay by Elizabeth Parcells

There is another important distinction to be made between those who sing and the singer;
many people sing for their own enjoyment, but the singer edifies his audience, not just
himself. The singer cultivates his art and masters his craft to make his singing appealing
and expressive.

Of the many forms of singing that exist; the Italian Bel Canto (beautiful singing) style is
the undisputed standard for classical, operatic singing. It began in Florence some 500
years ago when certain ideals for singing were established, the three most important
being:

1. Pure Vowels – The words of the poet are served by the music. The singer learns to
form clear, beautiful vowel colors to express those words, not only for their linguistic
meaning, but also for the aesthetic quality of the language itself, lending a variety of
colors to the singing tones.

2. Legato – “the carrying of the voice or the imperceptible merging of one tone into the
other. Between one tone and the next the breath may not be interrupted, but must be
held as though the tones were one.” The smooth movement from one tone to the
next, creating expressive phrasing and beautiful line.

3. Flexibility – The ability to sing a wide range of notes at any given speed, in any
given dynamic, with a wide range of colors, on one breath.

These three ideals are the elements of classical singing technique, as we know it today.
These are the techniques that singers train for years to master. The three ideals are
attainable through one vital element: the breath. This element delivers energy, stability
and movement to the singing tone. There is hardly a fault in singing that cannot be
blamed on poor management of the breath. The hallmark of great singing is awesome
breath energy and control.

Beyond pure technical elements, great singing depends on the artistic personality of the
singer, which develops through cultural influences and education. Lamperti: “Utilize
your time studying piano, the theory of music, and reading at sight. Broaden your

Vocal Wisdom Class 2

Learning @ the Opera House 2000
 Elements in Singing Page 3
An Essay by Elizabeth Parcells

knowledge of literature, painting, etc. the ‘beaux arts.’ This increases your ‘desire’ for
beauty, from which springs the instinct to sing.”

Nowhere in these ideals is the quality or quantity of physical “voice” mentioned.

Lamperti: “It matters not whether your voice be phenomenal or even beautiful, if
it expresses the music and the words you will have an interested audience. The
largeness of that audience depends upon the quantity of personality you are able
to put into your performance. If you are magnetic, the world is yours.”

The elements of expression in singing then are

• vocal technique
• musical language
• artistic personality.

We can do little to change the nature of our voices, but we can accomplish much in
mastering technique and developing an artistic personality. Those who feel that their
natural voices are less than ideal can take heart. The voice, by itself, is not an element
of expression. Despite all the modern debates about size and scope of voices, as if
singers were merely walking amplifiers, one truth remains: A great performance is
moving and memorable because it is expressive.

Lamperti: “The Soul of a Singer

The soul of a singer demands technique of both voice and breath before
it will emerge as tone. Intense vibration and adequate energy must be
ever available.
Overtones are its colors:
Rhythm is its heartbeat:
Resonance its body:
Vowels the forms it assumes:
Consonants are its hands:
Emotion is its lifeblood:
Imagination its ears and eyes:
Thought its feet:
Desire its wings:
Melody is its language.
The soul of a singer is the subconscious self.
It can use the body and mind only after these are disciplined by the
conscious self.”

Vocal Wisdom Class 3

Learning @ the Opera House 2000
 Elements in Singing Page 4
An Essay by Elizabeth Parcells

A Brief Discussion of the Breath

Breath or breath energy is the most basic subject of study for the singer. The reason is
that the singing tone is impossible without it. What modern person studies and exercises
his breath today, besides the athlete and the singer? Most people are unaware of their
breath or posture most of the time. Of course, they will never excel at singing. Many
singers and teachers of singing neglect the breath in lessons and practice out of boredom
with the subject or because of lack of understanding. It is the single most important
element in the production of the singing tone.

Lamperti states: “A tone must be self-starting, self-prolonging and self-stopping.”

To make this possible, complete management of breathing is an indispensable
necessity. Generally, faulty singing is caused by awkward respiration. In fact, all
bad habits of the throat are merely efforts of protection against clumsy
management of the breath.

The exercise of the breath by itself seems a dry and useless activity for the singer that
wishes to make sounds and not to merely draw air in and out. Therefore, it is wise to
consider the exercise of the breath as part of every vocal exercise.
There are three types of breath or respiration in singing:
• Abdominal or Diaphragmatic (low)
• Lateral (middle)
• Intercostal or Clavicular (high)

The ideal method is considered to be the first one, abdominal. Nevertheless, it is a

combination of these breath types that comes into play, depending on the demands of the
music.

Establishing good posture is the first step toward educating the breath. An exercise to
draw the singer up to full height and to open the ribcage allowing space for the abdominal
muscles to move and work should begin the singer’s exercise session. Consciousness and
energy of breath will carry the voice over the initial tones in the exercises.

Vocal Wisdom Class 4

Learning @ the Opera House 2000
 Elements in Singing Page 5
An Essay by Elizabeth Parcells

Abdominal (diaphragmatic) breathing should be the focus of attention in practicing the

breath, since this type of low breath is rarely called upon in daily life. A singer needs to
get in touch with his low breath. The athlete knows this type of breathing, because he
will resort to it during phases of heavy exertion. The marathon runner knows it because
it is the most efficient way to exchange the air in the lungs without undue effort during a
long race. The singer prizes the low breath for the ability to inhale a large amount of air
without effort in a short time.

The muscle responsible for the inhalation of air is the diaphragm. This muscle, shaped
like an upside-down bowl and located horizontally between the upper and lower thorax
(below the heart and lungs, but above the stomach and liver), is the strongest muscle in
the body, next to the heart itself. When it contracts, it displaces the organs of the lower
thorax, creating space in the upper thorax for the lungs to expand, drawing in air to fill
that space. When the diaphragm releases, the lower thorax organs can return to their “at
rest” positions, space in the upper thorax decreases, and the air in the lungs is exhaled.
Normally, this cycle of inhalation and exhalation takes place throughout our days and
nights without our giving it much attention

Vocal Wisdom Class 5

Learning @ the Opera House 2000
 Elements in Singing Page 6
An Essay by Elizabeth Parcells

Our breathing mechanism, largely the work of the diaphragm, is an interesting

combination of voluntary and involuntary reflexes. The muscles of the limbs, for
instance, are voluntary, answering the conscious commands of the brain. Activities such
as digestion and heartbeat are involuntary, independent of the conscious brain. The
breathing mechanism is both; involuntary during sleep or unconsciousness, voluntary at
times when the conscious mind chooses to take control of it. You can hold your breath,
but you cannot (or should not!) command your heart to cease beating.

Breathing, like heart action, is also influenced by subjective factors such as moods (fear,
happiness, sadness) or levels of exertion (running, lifting, climbing, swimming).
Through control of the subjective mind, you can indirectly control your heart and

Vocal Wisdom Class 6

Learning @ the Opera House 2000
 Elements in Singing Page 7
An Essay by Elizabeth Parcells

breathing rates. This is useful for the singer to understand, in not only building the
strength and flexibility of the singing voice, but also for handling stressful situations such
as the singing of demanding music or nerves and excess adrenalin during performance.

The singer breathes like a weightlifter; passive inhalation, active exhalation. The
diaphragm is so adept and strong, it can manage inhalation without strain or effort. The
active exhalation requires the muscles of the abdomen to contract, pushing the lower
thorax upward and forcing the air to escape from the lungs quickly and forcefully. This
blast of air can be turned into sound by allowing the vocal folds to be sucked together and
vibrate. However, an uncontrolled blast leads to more of a shout or a grunt than a
pleasing musical tone.

In this case, controlling the flow of air is imperative for the singer. The abdominal
muscles can be trained to deliver the correct degree of contraction to move the air
through the vocal cords at the correct rate. However, it is the counteraction of the
diaphragm that is the key to breath control. Again, this fascinating muscle is capable of
its task without much thought on the part of the singer. When the “abs” contract, the
diaphragm reacts with contractions of its own to balance and counterbalance the abs,
controlling the amount of air pressure brought to bear against the larynx. This means that
the larynx is not forced to react with contractions of its own to inhibit the excess flow of
air and the vocal cords can vibrate “freely.”

There are several points to keep in mind at all times when singing, whether during
vocalizing or the singing of music:

• You must be conscious of your breathing at all times, monitoring your breath
capacity and watching for opportunities to inhale additional air according to
current needs, which can have changed with the situation

• The breath is in motion at all times, it never arrests during tones or between
phrases, as in speech; the singing breath is always moving

• Your posture must never collapse or go lazy; never breathe or sing indifferently

Vocal Wisdom Class 7

Learning @ the Opera House 2000
 Elements in Singing Page 8
An Essay by Elizabeth Parcells

• Breath energy gives the tone and the diction its energy, projecting your voice and
words into the hall to your listeners; never allow your energy to flag

• Use economy and efficiency by gauging your situation and taking what you
need, no less and no more. Run your race wisely.

A brief discussion of Singing Tone upon the Breath (Attack)

The tone itself begins in the larynx where the vocal cords or folds are located. As air is
exhaled, the larynx takes up a position so that the folds can be drawn together by the flow
of air and begin to vibrate. The effect that causes this was described by and is named for
the physicist Bernoulli. This aerodynamic effect also describes the theory of loft and
flight, explaining the motion of air molecules over and under a foil or an airplane wing.

To imagine how the Bernoulli effect causes the vocal cords to vibrate when air is passed
between them (through the glottis which is the space between the vocal cords), visualize
an American flag in a steady, stiff wind; drawn up and fluttering. This fluttering is much
like the vibration of the vocal cords. Now visualize the flag in a gentle, fluctuating
breeze; its motion is very different, it moves and waves, but there is no “vibration” along
its edge. The flag is entirely passive, and therefore entirely dependent on the wind to
make it move and flutter.

Think of your vocal cords the same way, as passive and reliant on the stream of (exhaled)
air for their vibration as the linen flag upon the wind. This exhaled air is something you
control. Your vocal tone is an effect which you control indirectly via the direct control of
your breath.

So the initiation of singing tone upon the breath is possible by aerodynamic effect,
without muscular effort in the throat, the way flight is possible upon the movement of air,
without flapping the wings. Students of singing learn this concept so that they
understand the importance of breath management for achieving free and “effortless” tone
production.

Vocal Wisdom Class 8

Learning @ the Opera House 2000
 Elements in Singing Page 9
An Essay by Elizabeth Parcells

A brief discussion of Formants and Vowels

Having drawn breath and initiated tone in the larynx, the next part of the singing tone
equation is the formant or vowel. It is the shape of the vocal tract, that is the spaces
around the vocal cords known as resonators, which determines the color of the tone.

Points to remember:
• any resonator is a secondary vibrator
• the vocal resonator is a column of air within a space or chamber, not a “sounding
board”
• the shapes of the vocal resonators are complex and highly variable

These spaces include the pharynx, the nasal cavity, the mouth, and to some extent, the
trachea. These spaces are resonating chambers. The mouth and pharynx can change
shape, largely by movement of the tongue, lips and jaw, also by positioning the larynx.
The nasal cavity and trachea have little capability for changing their shapes.

The resonators are capable of vibrating as a whole or in several ways at once in its parts.
Most vibrators do this, creating timbre, which consists of several frequencies of different
intensities sounding together. (Vennard)

With this diversity of colors available to the singer, it is hard to imagine why some
singers choose to sing almost entirely on one vowel color, muddying their diction and
making their singing monotonous. The problem may well lie in an insufficient breath
and a throat fighting to compensate for this lack of breath energy. A tone that is well
supplied with and supported by breath energy is capable of infinitely more nuance and
expression.

The vowels pronounced in speech are formed by positioning the tongue and/or lips, the
formants. These formants change the shape of the resonators of the voice, changing the

Vocal Wisdom Class 9

Learning @ the Opera House 2000
 Elements in Singing Page 10
An Essay by Elizabeth Parcells

timbre of the singing tone. The pure “ah” (father) vowel is formed with the tongue in a
moderately relaxed position and the lips moderately opened. The tongue rises to form
“eh” (feather) and “ee” (feet) while leaving the jaw and lips in an open position.
Likewise, from the pure “ah” vowel position, the lips close around the mouth to form the
“aw” (awful), “oh” (nobody) and “oo” (soon) vowels.

The singer understands vowels to be colors of the singing tone, not just sounds in
language. Vowels are a vital part of the singer’s vocal exercise routine, since vowels
affect the placement and focus of the singing tone differently on given notes in the scale.
The singer must utilize various vowels during vocalization in a methodical manner in
order to exercise the singing voice on different vowels throuhout the range. The value of
this practice will be apparent in the clarity of the words sung in songs and arias. The
clarity of the words is a vital element of expression in the art of singing.

This essay is a work in progress. I welcome comments and discussion from serious
students of singing. Chapters will be added and existing ones expanded over time.
Thank you for your attention.

EP

Vocal Wisdom Class 10

Learning @ the Opera House 2000