Tanner Pruett - Smith - Ch. 7-9

Chapters 7-9

·         Spontaneous Combustion

o   Different from impromptu

o   Poised and prepared for spontaneous action

o   Strong onset with “vulnerability and openness to varying circumstances” (pg. 86)

·         Vocal exercise

o   5 detached “ahs” on the same note

o   Repeated randomly throughout the range and passaggio

o   Core and bloom from the onset

o   Avoid onset that involves pressing the vocal folds together (cough-like) or uses excess aspiration (“h” sound)

·         The release

o   The chords simply open with no pressure

o   Inhaling is the easiest method for healthy release

 

·         The Wobble

o   Purpose is to give up control of the larynx and submit completely to the airflow

§  Also to build flexibility in the airflow

o   Flexibility is important for properly utilizing this exercise

§  This invention also adds flexibility to clean articulation, airflow, evenness, and strength in the other inventions

·         Vocal exercise

o   Alternate between pitches 4 tones a part, first slowly then quickly, then repeated up a half step and reversing the starting pitch (either from high to low or low to high)

o   Start in the low part of the range

 

·         6^th invention – Getting High

o   Combination of all previous inventions

o   “Employ clear phonation, free-flowing air chiaroscuro balance, clean o2nset/release, and flexibility throughout the vocal range.” (pg. 98)

·         Vocal exercise

o   16^th note ascending and descending scale that explores multiple vowels (start on closed “e” for 1-2-3-4, “a” for 5-6-7-8, and “oh” for 9-10-11-9-7-5-4-3-2-1)

o   “speaking” sensation in lower range; “sigh” sensation in higher range

o   Naturally shift through registers with imperceivable precision

o   Start low in the range (treble voices: Bb3, A3, or Ab3; tenors: around C3; baritones: around Bb2 or A2; basses: Ab2, G2, or F#2)

o   Transition in tenor/baritone/bass voices

§  Transition feels “flute-y” and off of the voice

§  Still large sound, but is all airflow

o   Messa di voce

§  “Going from softest pianissimo to the loudest forte and back again with any trace of a register shift.” (pg. 103)