Page 62 - April.indd
P. 62

expressive device for many vocal   [n] consonant that starts each pho-  vowel shapes to create subtle “fi lter
                        18
        ensemble singers.  Figure 1 shows   neme in this section is an inherently   sweep” effects from note to note as

        the opening tenor line of the piece   nasal sound, which can help rein-  the vowels change (Figure 4).
        in its original notation.          force individual harmonics. For this   Another piece that uses a vari-
           Mäntyjärvi’s performance in-    passage I’ve used the wedge-shaped   ety of vocal timbres is Hee-oo-hm-ha
        struction of “almost painfully na-  Overtone Dominant notation and   by Toby Twining (b. 1957). Twin-
        sal” is, of course, tongue-in-cheek,   allowed the various consonant and   ing is a New York-based compos-
        and we can only hope he does not
        want the singers to do anything
        painful to either themselves or the
        audience. Let us imagine that the
        composer desires what is common-
        ly thought of as “nasal” timbre, but
        which might in fact be a narrowing
        of the vocal tract to emphasize a
        particular band of frequencies that
        produce a bright and biting timbre
        in stark contrast to the Fundamental
        Dominant sound.  In this instance
                        19
        I have employed the Narrow Band
        sound using the diamond shaped
        symbol in order to indicate an ap-
        propriately bright timbre (Figure 2).
           Later in the piece, Mäntyjärvi
        asks for a somewhat diff erent tim-
        bre (Figure 3).
           The performance instruction of
        “like a demented jaw harp” seems,
        again, intended to be humorous,
        but may leave the performer with a
        question of how this sound should
        be interpreted diff erently  than
        the previous instruction. The term
        “demented” implies an extremi-
        ty of sound, which I interpret as a
        more extreme narrowing of the vo-
        cal tract, creating something even
        brighter and more focused than the
        instruction in the previous example.
        Because a jaw harp is an instrument
        that uses the vocal tract as a resona-
        tor to emphasize specifi c harmon-
        ics from a single droning pitch, it
        is not unlike the use of Overtone
        Dominant singing. In addition, the


        60       CHORAL JOURNAL  April 2021                                                             Volume 61  Number 9
   57   58   59   60   61   62   63   64   65   66   67