Легато: решение проблем при пении на конкретном языке.
I remember when I was a struggling singer, one of my teachers told me: "Sing a line, sing legato." My first piano teacher, Ann Turk Derek (Ann Dean Turk), explain to me how this is technically perform as well on the vocal teacher I've never heard of the kind.
In this article I will try to lift the veil of secrecy. This is one aspect of singing, without which there can be a professional singer.
Funk respiratory support:
During my more than 25 years of teaching practice, I discovered that most singers do not know anything about breathing in singing and sound support (See dedicated to this article.) Although it is - an initial condition for a good legato. Again, any vocal habit must be balanced for her own performance. Many singers, including myself, learning new technical skills go too far up to the need for retraining. For singing legato singer need to learn deep breathing in the lower spine. I always ask singers to breathe from the waist, this breath is not great, but very deep. Too big breath triggers the so-called "blowing" bundles of flux air, especially when pronouncing consonants. Many still define it as "speeding up, putting too much air pressure on the ligaments, which destroys the legato line. " Sometimes I call the control of breathing - an integral part of singing on the anvil - "grunt" or "moaning." This reminds lowing, which zadeystvvovany muscles of the lower spine. Such a combination of notes with moo - the basis for a singing legato, as it reduces the air pressure on the ligaments, as well as the time is extended vibrating tone. Slow and gradual deflation through the larynx is also necessary to create smooth zvukovedeniya. Another factor for a relaxed singing - as he called it Caruso, "cough," which helps get rid of excess air, when the phrase is finished. This "vykashlivanie air" or "puffing" as he called it Lindkuest also need to have the singer had a chance to relax during the work. After this rest period, the body automatically inhale deeply, so that the singer can start a new phrase with the correct attack.
function of the mandible:
I many knew about the slurs, watching as taught by Alan Lindkuest and his student, Virginia Botkin (Virginia Botkin). Lindkuest explains the behavior of the jaw so: she gently droops back and down as if you sleep with a tilted back his head. Jaw never filed ahead! Many singers are so actively open their mouth, the jaw is literally pops out of joint, that is absolutely wrong for healthy singing. Also, it destroys the legato, as the jaw can not function korektno the pronunciation of consonants. If a singer is to connect notes so that there will be "black holes" during which the vote will not vibrate at all. Also included a root language, which falls closer to the roof, putting pressure on the vocal cords. If the jaw is lowered and the back vowels and consonants follow each other more clearly. (See article on the behavior of lower jaw and tongue.) This creates a uniform and constant vibrato - this legato. Lindkuest explained it, citing soft chewing movements jaw. He asked me several times to chew, and then sing "ee, oh, ee, oh, ee, oh". When shall gentle chewing motion as if you eat excessive pressure is removed from the jaw, which moves freely and flexibly. I have often seen singers who are either clamped jaw, closing the mouth, or push it too hard. Neither one nor the other does not help singing. In all movements need softness, only if there is an opportunity to create a good legato.
function of language:
I wrote earlier that Lindkuest explains the position of the language, as in pronunciation of nasal sounds in words "singing" or "hanging". Such a position - zagog presence of the resonance and sonority of his voice, and therefore legato.Esli well back of the tongue is not outside but inside the throat, the sound becomes dull and too dark, and the present, not the throat, the resonance can not be achieved.
William Venard (William Vennard) suggested that when singing in any language, to articulate ; as though you're singing in Italian. The use of such consonants as the "n", "d", "t", which participates in the formation of only the language, can teach the jaw relaxed otsavatsya while singing. When the jaw is gently pushed back and down into the throat appears acoustic space, and all the throat relax, allowing the sound longer and naturally vibrate. In the same way to pronounce the letter "m" and "explosive" under the "b" and "p". Masticatory jaw movement to help to remove her excess stress, as the diction must be at the expense of free negotiation between movements of his tongue. Lindkuesta favorite exercise for this purpose was - singing words "dentale": jaw drops immediately after a "click" language in the letter "d", then "nt" and "l" is the same slight movement of the upper teeth. Exercise should be done with drooping jaw and laid back, which should move away from the language. There are several consonants that require movement Jaw: "s, f, z, v, ch", and "th" and Italian "r".
I tell students to "spit out" these consonants at the same air flow as the vowels. If, however, to pronounce the consonant is forced more pressure than for the vowel - legato interrupted. Jaw must move the same way as when chewing that trenirtuetsya practice. I ask the singers vocalize on one note syllables such as: "da, me, ni, po, tu, la, be, da". These consonants do not require additional jaw movement. I keep students on these syllables until they learn how to automatically push the jaw back, then gradually I introduce the other letter combinations.
nasal resonance and its role:
Kirsten Flagstad (Kirsten Flagstad ) called nasal resonance of the "soul" of his voice. In 1938, Alan Lindkuest studied in Stockholm, where he met with a dramatic soprano Ingebyart Isen (Ingebjart Isene), which trains Flagstad, after the death of her teacher - Gillis Bratt. One of the favorite exercises Bratt was based on the pronunciation of nasal consonants "ng". This helps raise the soft palate, without a strong pinching. Lindkuesta aim was to introduce into the habit of a position of vocal apparatus (without nasalization, snuffle) during the singing of vowels. The result is both powerful and smooth sound. The habit of singing in such a position also helps create a good legato line at zvukovedenii.
During the sessions with me Lindkuest often asked to breathe and say in a high position. Performing his instructions, I got a sense of sonority in all vowels, which would not singing. Legato effect is huge! "Ng" (bow the letter "r") should be pronounced with a broad and relaxing the tongue, or the singer will feel the tension in the throat, and the exercise becomes useless.
We learned about the four most important elements, balancing that, you can create a good legato: (1) reliance on the breath and management, (2) the correct position mandible, (3) holds the position of language and (4) nasal resonance.
function of language:
I wrote earlier that Lindkuest explains the position of the language, as in pronunciation of nasal sounds in words "singing" or "hanging". Such a position - zagog presence of the resonance and sonority of his voice, and therefore legato.Esli well back of the tongue is not outside but inside the throat, the sound becomes dull and too dark, and the present, not the throat, the resonance can not be achieved.
William Venard (William Vennard) suggested that when singing in any language, to articulate ; as though you're singing in Italian. The use of such consonants as the "n", "d", "t", which participates in the formation of only the language, can teach the jaw relaxed otsavatsya while singing. When the jaw is gently pushed back and down into the throat appears acoustic space, and all the throat relax, allowing the sound longer and naturally vibrate. In the same way to pronounce the letter "m" and "explosive" under the "b" and "p". Masticatory jaw movement to help to remove her excess stress, as the diction must be at the expense of free negotiation between movements of his tongue. Lindkuesta favorite exercise for this purpose was - singing words "dentale": jaw drops immediately after a "click" language in the letter "d", then "nt" and "l" is the same slight movement of the upper teeth. Exercise should be done with drooping jaw and laid back, which should move away from the language. There are several consonants that require movement Jaw: "s, f, z, v, ch", and "th" and Italian "r".
I tell students to "spit out" these consonants at the same air flow as the vowels. If, however, to pronounce the consonant is forced more pressure than for the vowel - legato interrupted. Jaw must move the same way as when chewing that trenirtuetsya practice. I ask the singers vocalize on one note syllables such as: "da, me, ni, po, tu, la, be, da". These consonants do not require additional jaw movement. I keep students on these syllables until they learn how to automatically push the jaw back, then gradually I introduce the other letter combinations.
nasal resonance and its role:
Kirsten Flagstad (Kirsten Flagstad ) called nasal resonance of the "soul" of his voice. In 1938, Alan Lindkuest studied in Stockholm, where he met with a dramatic soprano Ingebyart Isen (Ingebjart Isene), which trains Flagstad, after the death of her teacher - Gillis Bratt. One of the favorite exercises Bratt was based on the pronunciation of nasal consonants "ng". This helps raise the soft palate, without a strong pinching. Lindkuesta aim was to introduce into the habit of a position of vocal apparatus (without nasalization, snuffle) during the singing of vowels. The result is both powerful and smooth sound. The habit of singing in such a position also helps create a good legato line at zvukovedenii.
During the sessions with me Lindkuest often asked to breathe and say in a high position. Performing his instructions, I got a sense of sonority in all vowels, which would not singing. Legato effect is huge! "Ng" (bow the letter "r") should be pronounced with a broad and relaxing the tongue, or the singer will feel the tension in the throat, and the exercise becomes useless.
We learned about the four most important elements, balancing that, you can create a good legato: (1) reliance on the breath and management, (2) the correct position mandible, (3) holds the position of language and (4) nasal resonance.
exercises to achieve good legato:
(1) Use the hiss learn how to create air resistance at the root of upper front teeth. This will also allow the body's resistance pochuvtvovat air pressure and a small stream of air passing through the larynx. The habit of feeding the body forward from the waist and moan give a chance to feel the support of respiration.
(2) Allocating ago, a relaxed jaw. Use the chewing jaw movements, sing it closed vowels, for example, "ee, oh, ee, oh, ee, oh," or "eh, ah, eh, ah, eh, ah," etc.
(3) sings Italian syllables da, me, ni, po, to, la, be, da. Recite them, relaxing at the same jaw, for example, can represent that of a large drink cups. Let language to do all the work in the utterance of these sounds. This will prevent the jaw tension and help free her throat. (Remember, if the facial muscles, especially upper cheeks pulled, then the jaw is opened freely.)
(4) Gradually train resonance, then open your mouth to the sound of "o" or "a", allowing small the flow of air to pass freely through the larynx. Contributed to help prolong the vibration resonance of vowels and consonants reduce the cast time.
must always remember that the basis of musicianship is the ability to sing legato, without which the singer can not be considered professional. In fact, we do not pronounce sounds in singing as the conversation. The main difference is that the lower jaw becomes more passive, and for the clarity of diction is responsible language.
From my personal observations of many singers, when they sing legato, the public реагирует эмоционально. Например, я был на концерте Кристы Людвиг (Christa Ludwig) в Линкольн Центре с Джеймсом Ливайном (James Levine) за фортепиано. В последнем отделении She sang songs of Mahler. melodiousness coupled with the overall musicianship captivated the audience. When the last note has sounded - reigned dvadtsatisekundnoe silence which togdapokazalos me infinity. All I can say it was exactly what we are all looking for a musical performance.
Musicality consists of several arts, most important of which is legato.
Wish WAYS hurry to master this craft!
Translation Marina Lukashok.
Original here.
0 comments:
Post a Comment