Summary:
Our resonance affects our sound more than the actual construction of the larynx. You could replace a larynx and it wouldn't affect much of the sound. The sound that a listener hears is the buzz from the larynx that is then modified by resonance. In men's voices, the first harmonic can sometimes be one of the weaker tones produced. Formants will further amplify the sound based on the vowel that the singer is producing. Vowel alterations can create stronger formants in places that might help with intonation or tuning a chord. Passaggios are easiest to navigate if the larynx is habitually low and relaxed. Utilizing the singer's formant allows for a voice to be heard over an orchestra, but is mostly utilized in classical singing without a mic.
Application:
This chapter shows me how I can create more effective singing by knowing how to tweak resonance. I was especially intrigued by the example of him altering the vowel of the choir to create stronger harmonics that were better in tune with the chord. As I learn more about this, I could see that being helpful in teaching choir in the future. I was also intrigued by the discussion of [a] and the male passaggio. I had utilized both of the less effective tendencies he described and have been working to get the relaxed sound that is most effective. I would like to do some recording and listening to see if I can identify the effects of various formants.
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