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Can anyone sing in an opera voice or is it an innate talent?

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Opera, or academic, vocals - one of the oldest (after folk) genres of singing. For centuries, singers have been honing their vocal technique, achieving a clean, beautiful, powerful sounding voice. It is difficult to master the academic manner of singing on your own - without the control from the side, the wrong technique can easily be formed, which, if it becomes a habit, will have to be corrected.

Features of academic vocals:

  • round sound
  • voice flight
  • the use of natural resonators to enhance sound,
  • advanced voice range,
  • singing without overtones (unlike rock singers, for example).

Types of Opera Voices

Before starting work on setting an academic voice, the teacher will have to determine the range - to ensure singing with the least tension of the vocal cords. In simple terms, voices are divided into high, medium and low. And if you mistakenly define a voice as low instead of average and set about performing unsuitable parts, you will soon be let know about the pain and discomfort in the throat.

  • Types of votes (listed from low to high):
  • men: bass, baritone, tenor, countertenor,
  • female: contralto, mezzo-soprano, soprano,
  • children's: alt, soprano, treble.

Academic Vocal Training

As on three pillars, work on the classical style of singing rests on practicing:

  • proper breathing
  • clear articulation
  • the use of resonators and supports.

Breathing exercises - this is where every vocal lesson begins. First, the teacher will teach you to breathe in your stomach - i.e. will form a diaphragmatic type of breath. Its advantages over others are that the singer, lowering the diaphragm, inhales the greatest volume of air and maximizes the chest cavity of the resonator. And so that the air does not end suddenly on long notes, you still have to learn how to correctly use your breath.

Articulation in opera and conversational are different. For the full use of head resonators, vocalists relax the larynx, jaw and lower the root of the tongue. But, at the same time, singing should remain legible! Articulation gymnastics exercises and tongue twisters come to the rescue. The following rules are also recommended:

  • we start the phrase by opening our lips slightly in advance (so as not to sing with a smacking),
  • we don’t close our mouths until the end of the note (so that no sound [m] appears at the end of the line),
  • emphasize the end of words.

The emergence of feelings voice supports and revitalization resonators directly depend on the clear and coordinated work of the respiratory muscles and organs of articulation.

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