on the Voice: Building Strong Voices: Twelve Different Ways!

Author(s): Stephen F. Austin

Source: The Choral Journal , DECEMBER 2007, Vol. 48, No. 6 (DECEMBER 2007), pp. 55-66
Published by: American Choral Directors Association

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Building
Building
Strong VoicesrTwelve Different Ways!
Strong Voi

by

Stephen
Stephen F.Austin
F.Austin

Introduction University of North Texas. I say that I in her choir rehearsal while at the same

been invited to make a contribu- that many of my own voice students have the voice and experience the liberation of
tion to this journal and I do so with contributed to the membership of those not holding it back—a message that she
Dt is a great privilege for me to have have participated in those programs in time I am asking her to learn to let go of
much enthusiasm! In order to be as fine choirs and continue to do so. has been living with already throughout
thorough as possible, I am writing this ar- I am in awe of what many of you are her high school choral experience. At the
tide in two parts.The present section will able to do with an ensemble of voices to same time, I understand that singing in a
introduce the subject and deal with five bring choral music to audiences and to fine choir is of inestimable benefit to her
important elements of a comprehensive provide a tremendous musical experi- as a singer and as a musician and that if
pedagogical theory. In part two (Febru- ence for our students. But, for us not to she stays in music for the rest of her life,
ary 2008), I will discuss seven additional acknowledge that there are sometimes a large part of her musical opportunities
points. I trust that you will indulge me on tensions between voice teachers and will include participation in, and perhaps
one point in the course of this offering; I choral directors in this world would be leadership of, a choral ensemble,
am going to use'first person'throughout, to ignore reality—much like the story of The choral directors goal is to create
I am at my best when communicating "The Emperor's New Clothes." I must a unified sound within the section that
informally and interacting with people admit that there have been times when functions well within the choir My goal as
directly. So, I am going to assume that we I have felt that the experience that some a voice teacher is to help my student sing
are all gathered around the piano and we of my students were having in their choral ers build and develop a voice that is free,
are having a delightful conversation with ensembles was at cross purposes to what expressive, musical, and capable of being
much interaction and exchange. we were trying to do in the studio. I am heard over an orchestra and the folks in
As someone who has been teaching sure that my choral director colleagues the chorus. I believe that these two goals
voice and vocal pedagogy in academia for have felt the same away about what I do are different in some ways, but I believe
almost twenty years, I have shared much at times. For example, I have occasionally that a well-trained singer should be up to
joy in participating in the choral programs wished that my freshman soprano with a the task.There are specific issues, however
of two fine university choral programs, big voice could be exempt from choir until over which we sometimes disagree. How
Louisiana State University and now the she could get her technique established many discussions over the appropriate use
well enough so that she could make the of vibrato will we have before we realize
adjustments between being a soloist and that the answer to this and other issues
Stephen F. Austin is associate professor being a member of an ensemble without can be best approached by assuring that
of voice at the University of North confusion on her part. Even more that she the singers in our studios and in our choirs
Texas <[email protected]>. could be spared the vocal fatigue of trying are capable of doing almost anything that
to keeping the tone slim and unobtrusive we ask them to do without compromising

Choral Journal • December 2007 55

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 On The Voice

the health of the Instrument? designed to build and strengthen a voice nature happen In e
One thing is for sure: I am envious of over a period of time. Instead, we often they have to. How
the amount of time that the choral direc- rely upon the study of repertory to train that the nature of
tor typically has in front of the choir—per- the singer in the mechanics of the art. be founded on long
haps as much as five hours a week In some There are many voice teachers who spend of voice building th
situations. I have only one hour a week little time in the studio actually guiding the proven historical m
with my students. What a wonderful op- student through a series of exercises by vocal voodoo in t
portunity choral directors have to assist in, which we expect to be able to observe sion.There are c
or in some cases take the lead in, building the quality and abilities of the voice to of principles be
the vocal instruments of their singers. The improve. This is especially true of young product of very cr
choral director can have a significant and teachers who are maintaining private senceofastrongp
positive impact on the vocal progress of studios and working with middle school has been said that
each individual in the choir If, however and high school students, and of some The same is true i
either the director or the teacher does collegiate private voice teachers as well, no tried and true,
not understand the voice, there is great While some singers do progress with this method in the
potential for harm or limited progress. I type of instruction, it does not serve those of voice teachers, t
feel that it is vitally important for all of us who may be less naturally endowed with make one up as th
who guide young singers to be knowl- elite abilities. ineffective or even disast
edgeable about the voice and to have a The idea that the choral director should problem of false v
pedagogical theory that is based on an not teach voice in order to avoid con- in the studio, it mus
historically substantiated and scientifically flict with their voice colleagues is totally ists in the choral r
supported method. disingenuous in my opinion. The choral
director can make a significant contribu
tion to the goal of building strong voices Building Strong Voices Twelve
Argument by using the warm-up time during their Different Ways
We, as a profession, do not always rehearsal to provide expert leadership in There have been thousands of books
utilize a progressive vocal method that is "this effort. Vocal directives of a technical wrjtten on training the voice. Many are
difficult to understand outside the context
of a direct experience with that particular
teacher and so are not very useful in my
estimation. At the same time, a set of pre

mm cepts that can be agreed upon by singers

and teachers as a whole has alluded us for
centuries. This environment has encour

aged voice teachers to teach and write

. " n i v. V
■ 9st,mH pL& f.i i > • * ••.%*?*#/.-. *, .t
only out of their own experience, without
i\
the#.<•
need to'••-••
do so in the context of a

Wif'' sn
WfWTfpJp Tffr?mifl
rr~. r.\ V~r
< .a *
generally accepted body of knowledge in
the discipline. As a result, there are wildly

A
/I Salute
Salute to
to Americas
Americas Choral
Choral Musicians! contradictory theories and confusing
concepts in much of the vocal pedagogy
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would still be in the stone age!
It is possible, however to identify a
supportable body of pedagogical thought
in the midst of the chaos.There are sev
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56 Choral Journal • December 2007

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 On The Voice

of common experience. Tried and true methods, but has not produced more —making it'
means a great deal in this context. Fads effective means of actually training additional tensio
come and go very quickly in fashion and singers. vocal production. This is the reason
voice teaching. We must look to history as why the concept of the'pure vowel' is
a means of proof and verification. Premise 3: Many eighteenth- and nine- so central to good voice training.
We can also judge pedagogical con- teenth-century historical methods
cepts against what we know about the way focused on training the larynx as Premise 5: The concept of voce chiusa
the human voice works.There have been the primary component of the vocal represents to singing what chiaroscuro
many theories of voice production that instrument. represents to all art: a balance of
have been asserted in the last 150 years darkness and brightness. Many im
that simply are no longer valid today when Premise 4: The concept of the 'pure vowel' portant historical methods s
considered in light of what we know of has always been a primary tenet the voce chiusa should be estab
anatomy, physiology, and acoustics. In the of the study of elite singing in the right away and that it will facilita
1950s, DrVan den Berg1 was able to prove historical school. A vowel is formed other studies, particularly those
to the world that Monsieur Husson's by the position of the articulators cerning the equalization of reg
'neurochronaxic theory' was not possible (tongue, jaw, larynx, soft palate, and Most modern methods do n
because its primary tenets were not fea- lips.) A well-produced vowel requires mention this important co
sible due to limitations of the physiology a certain amount of tension to pro- favor of forward placement, fro
of the human nervous system.2 Yet, many duce it correctly, but excessive ten- or nasal resonance, and othertim
in our profession bought into the idea, sion distorts the quality of the vowel directives,
including the venerated voice teacherWil
liam Vennard, who at first wrote an article
supporting Husson's theories and then
offered a retraction after Van den Berg's
monumental repudiation.
There is nothing new under the sun The National Endowment for the Arts and the Houston Chamber Choir present
when it comes to training the human voice.
Modern science has not brought us new
Lift Every Voice and Sing
methods of training the singing voice, but
An American Masterpieces Choral Festival
it certainly helps us evaluate the worth ofJanuary 25-27,2008 • Houston, Texas
pedagogical thought. Of course, correctMorris Performing Arts Center, Houston Baptist University
theories are in themselves useless as well.
The ultimate proof of any pedagogical
process lies in the progress our students
make. However basing our pedagogy on
historical practice that is confirmed by a
thorough knowledge of the voice gives us
all the best possibility for communicating
and guiding our students to elite singing.
Joseph Flummerfelt, Barbara Baker, Robert Simpson, Houston Chamber Choir
Here are a few assumptions that I be Guest Conductor Guest Conductor Festival Director
lieve will help us identify a number of tools
for building strong voices: Join choral musicians from throughout
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Premise 2: Voice science has helped us
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judging the effectiveness of traditional

Choral Journal • December 2007 57

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 Edited by Max Spicker
I.
SUSTAINED TONES OF UNIFORM POWER
GLEICHMASSIGE AUSHALTENDES TONES

Diatonic Scale - Diatonische Tonfolge

Figure
Figure1. Franz Abt,
1. Practical
Franz Singing
Abt,
Tutor, Sostenuto
Practical
exercises. Singing T

The following exercises are commonly would be appropriate for a choral en- combination of ef
found in eighteenth- and nineteenth- semble. I use these concepts with my own tory, respiratory, a
century methods. The musical examples church choir to great benefit. (Author's Use of the soste
are taken from original sources. I do this note: I have written on most of these top- singer maintain a ton
because of my own personal interest in ics in more depth than this space allows. ancj intensity thr
the historical literature in this area and be- For those articles, refer to my column jty range, when
cause I take great joy in unearthing these "Provenance," which appears in thejournal involved with r
foundational documents and exposing of Singing.) drastically. This in part
contemporary readers to them. ness that developing the low voice (chest
The exercises are presented in the Sostenuto or Sustained Tones." register) was also a foundational e
order in which they were typically studied. I Most nineteenth-century methods jn elite singing. This can be like
The implication is that the order makes a began with the sustained tone, and concept of'core strength' in the
difference. Even though these exercises always in the low range of the voice.This Qf exercise physiology in recen
were intended for individual use, it would is the most fundamental vocal expres- strong'core'(primarily abdomina
be an easy task to derive exercises that sion, and yet requires an extraordinary and back muscles) provides the f
that the body needs to do everything else
well. A strong chest voice or low mecha
nism provides the strength for the entire
instrument, and not just for the basses and
American Anthem the altos. I will address this further in one

I . . ■■ ■ -7- "' ' -- "MIC

of the later points,
Words and Music by Gene Scheer Sostenuto exercises usually progress up
by step or whole step, and for at least an
Sung by Norah Jones
octave. They are and featured
most appropriately sung
a Ken Burns Film
at an intense dynamic level, mf to f. In
Available for A Cappella SATB (divisi) Chorus, historical methods, they were almost al
SATB Chorus and Piano, and ways accompanied in order to encourage
TTBB Chorus and Piano
students to feel as if they were singing a
musical phrase. The vowel varied some
what, but most pedagogues began with
$2.00 — to order call 800 298 7474 classicalvocalrep.com [a]. Here is an example from a well-known
method by Franz Abt that is still available

58 Choral Journal • December 2007

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today.4 (Figure I) Portamento.5 Most historical meth- tinuity of tone that changes pitch in a way
J ods taught the portamento im- that is evenly distributed from the first to
Benefits: Sustaining a tone strengthens the mediately following the sostenuto the second note. Imagine a practitioner of
intrinsic musculature of the larynx. It is an and as an introduction to legato tai chi going through his or her exercises:
isometric exercise for the thyroarytenoid and all other articulations. I rarely run no discrete movements, but smooth mo
and the cricothyroid muscles that control across a singer of any age or experience tion from one position to the next. We
pitch and register The relative simplicity of who has been taught the portamento. Its should have a similar goal when singing,
the gesture provides the perfect opportu- use as a pedagogical tool has long since When I ask a singer to sing a portamento
nityto address a number of other techni- disappeared from our consideration. It is on the interval of a fifth, there is typically
cal concerns, including onset (discussed often thought to be only an overwrought some underlying scale-wise quality. The
in detail at a later time), proper breath musical device that is used in pop songs ability to do it smoothly requires great
management and support, vowel purity, and late-romantic Italian arias. skill; it has to be studied. In the beginning, a
posture, and facial repose, among others. The historical evidence tells us that the singer may have to be given permission to
The benefit of this exercise is belied by portamento is a very important exercise sing sloppy. They often are resistant to the
its simplicity. Most methods include a full in the training of elite singers. It builds sound when it is correctly produced,
octave ascending and descending by whole strength and coordination in a way that Manuel Garcia's monumental work The
steps. It is not a trivial task to do this—you nothing else can. It is to the voice what t'ai Complete Treatise on the Art of Singing6 is
really feel like you have done some work at chi ch'uan is to the body: a controlled, fluid typical of nineteenth-century methods in
the completion of this type of task. exchange of muscular tensions.The ability "that it included specific exercises like those
to sing a true portamento is to be able to in Figure 2. Garcia began with small inter
sing from one pitch to another with a con- va's ar)d progressed to larger ones. I find it

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Photos courtesy of Peninsula Women's Chorus, Heinz Chapel Choir, Central Dauphin and Hershey High
School Choir, and Texas A&M Women's Chorus

Choral Journal • December 2007 59

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 On The Voice

No. 5

L> J~-• 1 4^_j

2A
- ^3' J. 9

1 y 4 &—» 4—t— -&—5 -&■ -J ■d

!'^l: F'l W j=#=J

No. 8

2B

j 11,j j j i
r rT
rr i=i =M= M

m f

W r i 'r jt i f r * f * 'p y > y f

Figure 2. Manuel Garcia, The Complete Treatise on the Art of Singing, Portamento exercise, 1847.

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 On The Voice

much easier to begin with larger intervals and a certain robust quality. The chest and to thereby
and narrow them over time. (Figure 2) register is limited to a particular range, but is very common,
the desirable qualities of the chest voice historical method.
Benefits: The practice of the portamento can be transported beyond its boundar- Like the so
trains a smooth coordination between ies through the use of specific exercises, provides the o
the thyroarytenoid and the cricothyroid including the portamento. A good example number of o
muscles of the larynx. These two muscles would be to have a soprano or alto sing an ing, among other
are in a constantly changing balance of [a] vowel energetically on B3, the B below support, and f
tension during singing as they control the middle C (once the chest voice has been
pitch and register of the voice. firmly established), and then quickly ascend 'j Legato.7
The portamento requires a sense of to the upper octave without disengag- technical
constant breath flow, or support. Any ing the voice—using a quick but distinct o^y ing the t
intentional change in pressure from the portamento to B4. This exercise can help true l
respiratory system will be evidenced by bridge the passaggio (usually around E4or take many fo
unevenness in the voice. F4) and helps to equalize the registration ample from a meth
The portamento was also considered event. The upper tones begin to take on century basso Lu
to be a primary register unification device, the clarity of the lower tones.The porta- It is very
The underlying principles of register study mento is one of the traditional solutions to who can sing
will be addressed more fully in a later the breathy middle voice—experienced by the first part
point. There are innate qualities of the almost every young singer The more con- when getting
chest voice that are desirable throughout temporary notion of exercising the notes ask them to sing
the whole range: clarity, breath efficiency, in the middle range to strengthen them starting on

Exercises for Soprano or Tenor

Uebungen Exercises Exercices

zur Verbindung der Tone.* in legato singing. * pour lier les sons.*
Bei diesen Uebungen darf In practising these exercises, En faisant ces exercices on
nur in den Pausen geatmet breath may only be taken ne prendra respiration que sur
werden during the rests les silences

Moderato

I ~ -J- * -4 9- * -J- * -4 9- * -J- • -J- *

ndo bis zum Schluss.
Leise beginnen, cresce
cendo until the end.
Begin piano, then cres
arrivant la fin.
Augmentez la force er

r r r r t

Figure
Figure3.3.
Luigi
Luigi
Lablache,
Lablache,
Complete
Complete
Method
Method
of Sin

Choral Journal • December 2007 61

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 On The Voice

C—depending upon the gender of the even perceive, but its absence will thwart

® UNION
ItXV UNIVERSITY
student). I inevitably get from them some- every effort toward elite singing,
thing like 'ha-ha-ha-ha-ha' both ascending I believe that singers in a choral setting
and descending—discrete sounds rather can learn to give the clarity and definition
than a connected legato scale. In between required for the ensemble much more ef
each adjacent pitch they are 'stop-starting' fectively if those singers are made aware
Department of Music
the tone, usually with a movement at the of the different types of articulation. Le
announces a search for
level of the vocal folds. This vocal fold goto should be intentionally taught in the
Chair of the Music Department movement can either be a separation of studio and in the choral rehearsal.There
the vocal folds that creates a ever-so-slight is no more effective way of freeing the
The successful candidate
aspirate between each note (like the 'ha- voice from unnecessary tensions and ef
will also be ha'that I described above,) or little glottal forts than to teach singers to sing on the
Director of Choral Activities stops-starts that occur between each note, breath, for legato connects their voices to
or In between these two extremes is often the breath and allows the tone to ride on

a faculty member in the area of a slight modulation of the tone, but none the air stream. Singing with a true legato
of these is evidence of elite singing. The where the vocal folds are in an almost con
Theory and Composition.
absence of a true continuity of the tone stant state of phonation allows the singer
Tenure-track Appointment will do more to limit the progress of a to sense physical freedom and release in
beginning Fall 2008 singer than any other single thing in my their singing, rather than focusing on the
Review of applications is on-going. estimation. effort involved. When no longer hindered
In our effort to make sure that we by effort, the singer can be music
Union University is a liberal arts-based achieve harmonic movement and rhythmic expressive without fatigue,
university located in Jackson, TN with accuracy in a choral setting, I fear that the
an enrollment of over 3,200 students. message is communicated either sub- i| Other legato interval st
liminally or directly that pitches should be /\ Traditional method books
The Department of Music is a fully separated from one another Perhaps it is the past typically included
accredited institutional member of a fault of omission, ratherthan commission varied forms of interval studies.
NASM with 11 full-time faculty —if legato is not intentionally trained, the The two examples in Figure 4 are taken
members, has approximately 75 music result will most likely be a disjunct motion from a method book written by Madame
majors and minors, and offers both the from note to note. Cinti-Damoreau,9 a famous soprano art
Bachelor of Music and Bachelor of Arts
Legato is one of the elements in fine ist with the Paris Opera in the 1820s and
degrees. singing that the typical listener may not 1830s. She went on to teach at the Paris
Conservatory of Music. Her method was
The successful candidate must be a
adopted by the school for use by the en
professing Christian who is an active
tire student body. (Figure 4)
member of a local church,
enthusiastically supports Union Benefits: Singing increasingly wide intervals
University's Identity, Mission and Core
while maintaining a legato line supports
Values, and articulates a Christian
the building of the voice in many ways.
worldview in their work and life.
As already mentioned in the discussion
of portamento, interval studies help to
For access to a position description and
unify the disparate registers of the singing
a faculty application, visit our website
at: www.uu.edu/humanresources. voice by giving the voice the experience
of singing through the breaks, or passaggi,
Send the completed application, often enough that the boundaries begin
resume, and cover letter to: John to disappear I liken this to what happens
The 2008 ACDA
Carbonell, Director of Human when you walk repeatedly through a field
Resources, Union University, 1050 Division Convention along the same route. Eventually, a path
Union University Drive, Jackson, TN Registration Forms begins to form and what was once rough
38305, or by fax to 731-661-5177, or Are now available online: and uneven becomes smooth and easily
via E-mail to: [email protected]. traversed.
<www.acdaonline.org>
Studies like the ones in Figure 4 can

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 On The Voice
MB

All the notes should be sung legato, and without dragging.

4A
y' r i-' r

5 ^5 L—^—

r ? - -
—1
►

rt

/C

4 f r J 5 5

Figure 4. Cinti-Damoreau, Method of Singing, Interval studies to be sung legato, c.1849.

also help singers desensitize themselves disconnecting the tone or changing the be sung legato with no sense of 'low' or
to unnecessary concerns of the high notes vowel. Each Interval proceeds in the same 'high', but only energized, committed sing
in their own voices.The singer should be way with the lowest tone serving as the ing with a calm repose in the body. In the
encouraged to sense that all the notes anchor to all the rest.The singer must be male voice this exercise is great fortraining
emanate from the same place, eliminating cautioned not to intentionally provide ex- through the passaggio using [o] or [u] at
any sense that there is high or low. I suggest tra effort to the highertones, butto letthe the top to keep the throat open (larynx
to my students that they feel all the notes body respond naturally to the extra physi- down). The male voice should approach
on one level or plane so that they do not cal demands of singing the higher pitches, the top with limited change in the mouth
reach up for the high notes or down for They must be monitored to assure that space; in other words without dropping
the low notes. In Figure 4b, for example, the repose of the body remains calm and the jaw. Any change of the natural repose
the singer should sense all notes emanat- that no facial or articulatory distortions of the singer should be avoided. After [o]
ing from the first tone—-the C4 (middle occur as they go through the exercise. and [u] have been established the singer
C.)The singer supports the first tone and Figure 5 Is also from Cinti-Damareau's should use [a], but allowing the work from
then sings the E4 without any evidence of method and is attributed to Rossini. It must the previous two vowels to inform the

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 On The Voice

This exercise, that we owe to Rossini, is the best possible to bring out and develop the voice:

t? k & TT
^
TT
^
TT ** —8— —n i

Quicken the tempo a little, and sing the exercise twice as marked, without a breath; the
with every note sustained and legato:

Repeat this exercise in various keys, up to and including the key of F Major.

Figure
Figure 5. Cinti-Damoreau,
5. Cinti-Damoreau,
Method of Singing,
Method The great
of Sin
"Ro

throat they will avoid an open yell at the Manuel Garcia first offe
top. of what he observed singers doing in they offer are grossly exaggerated and
This is also a good exercise for training the professional marketplace of his day. do not reflect the gentle approach
the soprano and mezzo-soprano to drop Garcia coined the term coupe de la glotte was described by Garcia and success
the jaw as they go above the top of the or shock of the glottis as the ideal onset practiced for scores of years now.
treble staff. This is called formant tuning of tone. Immediately much of the voice Proponents claim that the correc
and it allows the high voices to gain in community reacted negatively to it. How- ance of closing effort and breath pressure
intensity by tuning the lowest vowel for- even many nineteenth-century sources provides a clean ringing quality that canno
mant to the fundamental frequency. This promoted Garcia's definition of the coupe be accomplished with other concepts, suc
will be taken up in greater detail in a later de la glotte. The proper understanding of as coordinated onset or balanced o
discussion, but suffice it to say that this is the term promotes a clean, precise onset We do know that firm glottal closure p
a critical issue for the female singer and it where the vocal folds are in full contact just duces greater energy in the higher par
must be trained specifically. It is tragic to prior to phonation. The singer develops Depending upon the desired timbre
see a young lady struggling with her high just enough subglottal pressure to cause dynamic level that is called for; th
notes when it is often as simple as train- the glottis to begin the tone without any proach creates the fullest, richest sounds
ing her to drop to the top! It is often an airflow preceding it. This is analogous to of which a singer is capable,
instantaneous release of the high notes what one can observe on the lips when Of course, one does not always wan
and has brought smiles of amazement to pronouncing [pa]. If it is pronounced in a the full-voiced richness of firm glottal ad
a young lady who first experiences this in natural way, the pressure behind the lips duction. An intentional cushioning of th
her singing. (Figure 5) builds until the compression force of the tone with a little air slipping by unreali
lips is superceded. An eruption of breath by the vocal folds can sometimes be just

begin a tone has been a highly that practitioners have ruined voices due more unified sound. In my own choin I use
5 Onset.10 Theissue atproper
controversial way
least since to the to overly
aggressive, andmuscular
voice natureoccurs. Detractors
this cushioned onset have claimed what is needed and can provide a soften
when a truly unified

64 Choral Journal • December 2007

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 On The Voice

tone quality is needed, especially in the oh'like a young child who has just dropped say that it wi
softer dynamic range. somethlng.This is brilliant and very simple! an historical repri
My point on this issue is that singers It is a light, yet clean onset of tone: not
should be able to do both, but that an 'huh-hoh'. Figure 6 is from Carlo Bassini's Benefits: The
habitual easy onset robs the voice of popular method from the nineteenth cen- intrinsic laryng
maturity, fullness and richness of tone, tury." Here he explains his understanding sible for opening/
New York voice teacher David Jones of of how it should be produced. Bassini's muscles are criti
<Voiceteachercom> promotes the idea method was the most popular book on source of'ring' in
that training the clean onset can be easily singing printed in the United States in the 'easy onset' can
accomplished by having the singers say'uh- nineteenth century. I am very proud to the coup de la glo

EXERCISES TO SECURE THE RIGHT ACTION OF THE GLOTTIS.

In commencing these exercises, I stated that the word sea would be used on account of certain advantages its structure secured,
as to a pleasant and natural position of the mouth, and the proper stroke of the glottis.
I need not here dilate upon the difficulty of obtaining from a beginner in the study of music a correct a correct emission of the
vowel a, it is sufficient that this is the fact, and it was to avoid the loss of time that the word sea was used. But we have now arrived
at a point where we can dispense with it and use the proper vowel a.
In singing, if you wish to alight upon the tone with neatness, with true intonation, and will not have the tone preceded by some
undesirable aspiration, like h 'a; or, if you wish to avoid wasting a particle of your breath, the proper action of the glottis must be
employed.
The following four exercises are written with a view to this end, and will prove a valuable study, not only on account of this
glottis-stroke, but as a means of learning how to command the motions of the diaphragm. Baritone voices will find these exercises
of special use.
Let there be a short interval, or rest, between every note, apply neatly to the first note the syllable, sea, and then, without taking
breath or changing the position of the pharynx, pronounce a to the other notes, precisely as you did in its connection with sea. The
principalin this exercise is the diaphragm. Let every notebe given with an outward impulsion of the diaphragm. It can easily be felt
holding your hand on the lower part of your chest. Begin very slowly and take the a from the bottom of the throat. Recollect that the
a has the Italian sound, like ah.

No. 32
Lento

Figure 6. Carlo Bassini, Art of Singing, Exercises for training the "right action" of the glottis, 1884.

Choral Journal • December 2007 65

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 On The Voice

'easy onset' can be equally important, but

Voices." The NATS Bulletin 13 (May, 1957): Singing, 64 (Sept 2007), 89.
6. 8 Luigi LaBlache, LaBlache's Complete Method
the coup de la glotte is mainly ignored or
feared, so my focus has been3 Stephen
to F.Austin,"FirstThings
at least First." Journal of of Singing, (Cincinnati, John Church Co.
Singing
offer a balanced position on this impor 64 (Sept. 2007), 89. n.d.), 10.
tant issue. 4 Franz Abt, Practical Singing Tutor, (New York: G. 9 Cinti-Damoneau, Method of Singing (Philadelphia:
Schirmer; 1921), 2. A. H. Rosewig, n.d.).

(To be continued) 5 Stephen F. Austin, "Provenance." Journal of 10 Stephen F. Austin, "The Attack on the Coup
Singing 60 (2004): 301. de la Glotte." Journal of Singing, 61 (Ma/,

NOTES 6 Manuel Garcia, Complete Treatise On the Art 2005): 521.

of Singing, Part I, Translated and edited 11 Carlo Bassini, Art of Singing, (Boston: Oliver
by Donald Paschke (New York Da Capo Ditson & Co., 1884), I 16.
Janvillem Van den Berg, "On the Myoelastic
Press, 1984), 63,65. Originally published as
Aerodynamic Theory ofVoice Production."
Nouveau Traité Sommaire sur l'Art du Chant
The NATS Bulletin 6 (May, 1958): 6.
(Genève, Minkoff Éditeur; 1847).
Raul Husson, "The Classification of Human
7 Stephen F. Austin, "FirstThings First." Journal of

Chapman University
rrm Faculty Position

Chapman University, a comprehensive, liberal arts-based university in Southern California

for the Director of Choral Activities in the Conservatory of Music in the newly formed Coll
Arts. U.S. News & World Report Magazine recently stated that Chapman is rated in the Top
Best Colleges.
Director of Choral Activities
Description:
This is a tenure-track, full-time position at the rank of Assistant Professor, which will begin in August 2008. The Director of Choral Activi
ties coordinates and supervises all choral activities within the Conservatory of Music. This may include conducting two university choral
ensembles, an opera chorus, teaching courses in choral conducting, and supervision of adjunct choral faculty. This position will also observe
choral music education students in collaboration with the Director of Music Education. Active recruitment for the conservatory is essential.
Involvement in conservatory and university committees is expected.

Qualifications:
Doctorate is preferred; Master's degree is required. Extensive experience as a conductor at the national professional and university levels is
essential along with a successful record of recruitment. Secondary music education teaching experience is desirable.

Expectations:
The successful candidate will be expected to assume an active leadership role in the recruitment and retention of students. Thorough knowl
edge and understanding of the preparation of college-level undergraduates is essential.

The Conservatory of Music is part of the College of Performing Arts and consists of fifteen full-time faculty members and approximately
fifty-one adjunct instructors. With an established reputation for both academic and performance excellence, the Conservatory of Music has a
music major population of approximately 220, with many non-majors also participating in its programs.

Qualified candidates should submit a cover letter, résumé, at least three references (including telephone numbers and email addresses), a
CD/DVD recording of a live and unedited performance and a DVD recording of an ensemble rehearsal and conducting class/lesson to:
DR. SHAUN NAIDOO & DR. PETER ATHERTON, CO-CHAIRS,
SEARCH COMMITTEE - DIRECTOR OF CHORAL ACTIVITIES,
CONSERVATORY OF MUSIC,
CHAPMAN UNIVERSITY,
ONE UNIVERSITY DRIVE,
ORANGE, CALIFORNIA 92866
SUBMISSION DEADLINE IS JANUARY 25, 2008

Chapman University is an Equal Opportunity Employer, committed to providing career opportunities to all people, without regard to race,
color, religion, gender, age, national origin, sexual orientation, disability, or veteran status. Chapman University requires a background check
of all new employees.

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