By Dr. Melanie A. Mitrano melmitrano@aol.com
Composers
should understand that certain vowels and consonant clusters are difficult to
articulate in the upper range of any voice type. Singers use a technique called
"vowel modification" in their upper ranges, which allows them to modify closed
vowels toward more open vowels. Without vowel modification, singers would not
be able to articulate, sustain or resonate in their upper ranges. The resulting
sound would be strident, constricted, and perhaps even out-of-tune.
As a general rule when setting particularly high pitches, one should try to use open vowels, such as the "a" in father, the "e" in let, or the "o" in long. Closed vowels, as in the words greet and moon, are difficult to sing and articulate in the upper range. Similarly, diphthongs (as in day and sky), and triphthongs (as in fire and hour), can prove troublesome in the high register. The conscientious composer may familiarize himself with the International Phoenetic Alphabet, which singers rely upon for pronunciation and diction. I.P.A. symbols appear in most dictionaries, and will clearly show open versus closed vowels, as well as vowel clusters.
Certain consonants can also be problematic on high notes, especially if positioned at attack or cut-off points. The best way composers can gauge diction concerns, is to simply sing their own music. Chances are, where the composer is uncomfortable executing something, the performer will be, too. Good diction is paramount in a sung performance. If the vocal writing tends toward articulation difficulties, the final result may be a garbled, incoherent performance that will fail to communicate the text, or satisfy an audience.
In order for the solo singer to be heard in a chamber or orchestral setting, composers must refrain from doubling the vocal line. This is especially true with respect to instruments whose timbres resemble the voice, such as the violin or clarinet; or for instruments that can easily overpower the voice, such as brass and percussion. If doubling is unavoidable, it should be done in another register, at octaves (or other intervals), rather than in unison.
Consider some of the foremost vocal writers of the last century. Charles Ives, the father of American art song, very rarely doubled the voice at all. Why do so when he could weave such ravishing counter melodies through his vocal lines, which stood so unfalteringly independent? In a recent interview, renowned soprano Lucy Shelton discussed the formidable vocal music of Elliott Carter. Rather than doubling, Shelton notes that Carter uses "reference points," where "the melody line relates to the other parts."
Indeed, the resourceful composer will welcome the removal of doubling from his musical vocabulary. In doing so, he may discover creative alternatives which complement and enhance the voice, rather than obscure it.
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