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Vocal Techniques for Singers

This document discusses different vocal qualities and techniques: Voce aperta refers to an imbalance among resonance factors that results in an unacceptable quality, especially in upper ranges. Voce chiusa describes a desirable balance of low and high harmonics throughout the range. Voce coperta occurs with rising pitch without mechanical changes associated with Deckung, and avoids voce aperta through aggiustamento or rounding of the vowel. It is considered a major technical accomplishment but is not identical to some uses of Deckung. Ignoring vowel modification throughout the ascending scale can result in unwanted register demarcation, as some singers suddenly "cover" on reaching upper voices or passaggi, producing a

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Cristina Marian
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380 views1 page

Vocal Techniques for Singers

This document discusses different vocal qualities and techniques: Voce aperta refers to an imbalance among resonance factors that results in an unacceptable quality, especially in upper ranges. Voce chiusa describes a desirable balance of low and high harmonics throughout the range. Voce coperta occurs with rising pitch without mechanical changes associated with Deckung, and avoids voce aperta through aggiustamento or rounding of the vowel. It is considered a major technical accomplishment but is not identical to some uses of Deckung. Ignoring vowel modification throughout the ascending scale can result in unwanted register demarcation, as some singers suddenly "cover" on reaching upper voices or passaggi, producing a

Uploaded by

Cristina Marian
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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156 The S tru ctu re of Singing

upper harm onic partials in the sound, and is not an acceptable qual­
ity in any vocal range.
Voce aperta (open voice) indicates a general im balance am ong
resonance factors in all ranges of the voice, especially apparent in
upper-m iddle and upper voice. Voce bianca contributes to voce
aperta
Voce chiusa (closed voice) describes a tim bre in all parts of the
range w ith a desirable balance of low and high harm onic partials.
Voce chiusa produces the chiaroscuro (light-dark) tim bre in which
both brilliance and depth are present in any area of the vocal scale.
Voce coperta (suono copcrto) occurs in rising pitch w ithout
engendering m echanical changes associated with Deckung, and
w ithout the kind of m echanistic action represented by som e uses of
th e term "cover.” Although copertura might literally be translated as
Deckung, o r "covering,” the physiological events a re not necessarily
identical. Deckung, or "covering," as it is som etim es understood,
cannot be m anaged without introducing heavy thyroarytenoid activ­
ity in parts of the vot ai range w here o ther m uscle balances should
prevail A healthiei and nu n e aesthetically pleasing alternative (of
com s e , not l o e a r . lli.il l i a v c been culturally conditioned otherwise)
mav be found in a l m o s t im perceptible m odification, at the prim o
pa.s.saggio, whit li does not com pletely neutralize th e vowel at the
,secondo pas.saggio pivotal point (Miller, 1977, pp. 82-83).
Voce coperta is part of the voce chiusa concept and avoids voce
aperta through aggiustam ento of the vowel. Such copertura form s a
major technical accom plishm ent in artistic singing. As m entioned, it
is not eq uatable with som e uses of Deckung (or "covering”). It is also
in accurate to translate directly the term s gedeckt and "covered” as
voce coperta The aggiustam enti of copertura, a technique also
know n as arrotondam ento (rounding), are m uch m ore g rad u ated in
the historic schools than in som e other tw entieth-century systems.
Aggiustamento is of m uch im portance for high pitches (le note acute)
of the voice.
Som e singers tend tow ard an open quality of sound because
they lack the proper energization and physical involvem ent needed
to achieve unified tim bre in the m ounting scale. On reaching upper
voice or encountering the secondo passaggio, they suddenly "cover,”
producing a m arkedly "woofy” sound. Therefore, although avoiding
the perils of early Deckung, they violate function as the scale rises;
they then force sudden adjustm ents on the larynx, and dark, unsup­
ported tone results. To ignore vowel m odification (aggiustamento)
throughout the ascending scale is to lay the ground for unw anted
register dem arcation.

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