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Words Are in the Mouth—Quality is in the Throat




        close to a voiced consonant such as [z]. As the change from   the pitch or sharpening to occur after the consonant. If

        vowel to consonant occurs, have students try to maintain   the subglottic pressure and airflow are allowed to change as
        the overall quality of the sound. Then have singers attend   needed to produce a similar quality on each speech sound,
        to these onsets starting on a voiced consonant instead of a   the change in pitch frequency will not occur.
        vowel.                                                    Figure 1 depicts an acoustic spectrogram image of three
                                                               different sustained consonants transitioning into a vowel.

                                                               All three vowels were sung at the same frequency for each
                  Consonants and Coarticulation                example. The first example, [z] to [i], was performed by

           While singing the previous “happy” exercise, you may   trying to maintain the same subglottic pressure when tran-

        have noticed the phenomenon known as coarticulation.   sitioning into the vowel. The pitch fluctuated at the transi-
        This occurs when production of one speech sound infl u-  tion and momentarily sharpened.
        ences a surrounding speech sound. For example, the [a]    The second example, [s] to [i], was performed trying to

        vowel in the happy exercise influenced the “h” quality.   maintain the same amount of airflow when transitioning

        Try to sustain the “h” in the word “hoot” and then sustain   into the vowel. Again, the pitch raised at the onset prior to
        the “h” in the word “happy.” You will notice that the “h”   coming back to the intended pitch.

        sound is simultaneously influenced by the tongue position   The third example, [z] to [i], was performed with ad-
        and, maybe even more importantly, the larynx position of   justments to subglottic pressure and airflow to maintain

        the following vowel. These elements may be desirable in   the same pitch and voice quality during the transition from
        a more contemporary commercial styling such as pop or   consonant to vowel. The pitch did not shift.
        jazz but need to become independent of one another in a
        typical classical voice quality. Remember, however, that the
        overarching goal is to train independence of speech sounds
        from voice quality.
           Another example of coarticulation occurs when a na-
        sal consonant such as the “n” in the word “hand” causes
        the preceding vowel [a] to become nasalized. In a classical
        context, singers typically desire to remove this coarticula-
        tion. This takes training and is not suitable for vernacular
        styles such as pop. In order to make a pop style sound more
        authentic, singers can allow the ending of the [a] vowel to
        become nasalized with a lowering of the velum (soft palate)
        before transitioning into the “n.”
                                                               Figure 1. Spectrogram image of the relationship between
                                                               consonants and pitch
                       Consonants and Pitch
           Voiced consonants occur with vocal fold vibration. It
        can be advantageous for singers to match the pitch of the           C onsonants and Dynamics
        voiced consonant with the pitch of the subsequent vowel,   Consonants are perceived softer than vowels, so if a con-
        especially on an ascending interval. For example, sing the   sistent legato is desirable, it can be advantageous to make
        word “singing” with the first syllable “sing” on a C3 or C4   the consonants louder, especially voiced consonants. Fred

        and the next syllable “-ing” on a G3 or G4, respectively. Be   Waring’s book, Tone Syllables (1945), focused on equalizing
        sure to sing the “ng” on a G3 or G4 pitch. Now keep the   the dynamics of consonants to vowels but did not specifi -
        “ng” on the lower pitch, and you might notice the diffi  culty.   cally discuss voice quality interaction. Since dynamics are a

           Consonants can also influence the pitch of a subsequent   result of changes in the vocal mechanism, it is important to
        vowel. If singers are required to sing louder-voiced conso-  consider voice quality in this equation. For example, if sing-
        nants such as “z,” they may use the same subglottic pres-  ing the word, “sing,” in a classical style, the initial “s” can
        sure in the subsequent vowel. This can cause a raising of   be made louder by maintaining more constriction in the


        ChorTeach   Volume 14 • Issue 1                                                   16                                                        www.acda.org/publications
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