SLS AND VOLUME

Structure and Function

Volume is a subject that teachers must monitor very carefully. Many students believe that “louder is better”. Unfortunately, some teachers teach as if that were true. As SLS teachers, it is extremely important that we not allow or encourage our students to employ too much volume in their singing, especially when they are beginning. Would a person beginning a fitness routine go to the gym and bench-press 500 pounds (227 kg) on the first day? They might try, but would not be back the next day! In the same way, we must give the vocal mechanism time to learn to coordinate effectively and eventually work toward building up stamina and strength.

In SLS, “volume” is defined as “the result of the proper ratio of vocal cord resistance versus air pressure coordinated in a state of balance”. With too much air pressure, the cords are unable to remain appropriately adducted. Too little air pressure and the cords have nothing to resist. In SLS, the priority is to find the optimum balance between air pressure and the resistance capability of the cords. Once that balance is established, the student can gradually “press”

more; ultimately, the result will be an increase in volume.

Students are often attracted to the larger, fuller sounds of advanced singers. Our responsibility is to initially prevent them from singing as loudly as a fully developed and mature voice. Teachers should aim instead for balance. Volume will, with regular practice and reinforcement of good

technique, increase in proportion to the genetic predisposition of the student. This means that

“Volume is a result of the vocal cords’ ability to resist air pressure.”

Seth Riggs

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some singers, because of the size of their vocal cords and other bodily structures, will ultimately be able to produce bigger sounds. When dealing with younger singers, a good teacher should never attempt to superimpose a professional singer’s sound on an undeveloped voice.

“Coordination of the voice at your speech level must be developed before you can begin to build strength. As you do the exercises, don’t feel that you have to do them loudly. That is not important. If you try to sing too loudly (using too much air) too soon, your outer muscles will never give up their pulling and tightening reflexes. Have patience.” – Seth Riggs

Students often fail to realize that constant forte (loud) dynamic levels soon become boring to the ear and that greater effect can be achieved by using contrasting dynamics such as moderately soft (mezzo piano or mp) with moderately loud (mezzo forte, or mf) sounds. Encourage students to find the freedom and ease of a well-balanced vocal production and they will maintain a much healthier vocal instrument for life.

As teachers, our first responsibility is to give our students even, controlled sounds from the bottom to the top of their vocal range. Volume should never be our primary goal; it is a by-product of good vocal training.

The following chart shows some examples of vocal cord injuries resulting from singing with too much pressure on the vocal cords.

Figure 9: Vocal cord injuries

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VIBRATO

Vibrato is a cultured or artistic fluctuation usually introduced purposefully by the singer. The pitch will alter +/- 0–3%, occurring 4.5–6.5 times per second and at a rate of 4.5–6.5 Hz. The rate of vibrato can vary according to such factors as vocal intensity, the age and physical condition of the singer, muscular interference or tension, and the singer’s preconceived notion of how vibrato should sound.

Recent research indicates that the cricothyroid and thyroarytenoid muscles are the primary producers of vibrato, and that the movement of the thyroid and cricoid cartilages is the main source of vibrato.

Most “natural” vibratos are actually learned by imitation, and vibrato aesthetics (what is considered to be a pleasing sound) vary. For example, in some parts of the world, an extremely fast vibrato coupled with a high larynx is used in indigenous music and is considered highly attractive. As in speech, singers often automatically assimilate the vibrato sounds they hear while growing up (for better or worse). Therefore, a good instructor should be able to model appropriately and demonstrate good vibrato in order to provide a better vocal example to a student.

Vibrato can also vary in style application. For example, many rock singers use little or no vibrato.

Classical singers use vibrato on every note, which is appropriate for operatic and classical styles in music. Jazz singers often use a “delayed vibrato”, which is a straight tone followed by vibrato.

The stylistic demands of the song will dictate when, where, and how much vibrato is required.

Various vibrato styles are all correct as long as they are produced without throat tension and fall within the acceptable limits of a pulse rate of approximately 4.5-6.5 pulses per second.

If the student is pulling, over-compressing, or does not have cord closure, vibrato is likely to be incorrect. Advise the student to practice at medium volume (mf) or even softly (mp) to discourage muscular tension. Remember, balance will encourage vibrato to occur naturally.

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In document SLS Manual (Page 33-36)