The Vocal Coach - Feb 2003, Monthly ArticlesThe Vocal Coac

Jan

2003

The Vocal Coach - Feb 2003

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It's already the second month into the new year, it's hard to believe. Time moves so quickly and we have so much work to do. I hope you have been practicing the vowel modifications that we have covered the last few months. This time we are going to talk about three consonant modifications. So let's get started!

The first consonant is the letter "L." We don't want to sing the letter "L" unless it is at the beginning of a word, the beginning of a syllable, or the last letter of a word. If "L" is at the end of a word or syllable, don't sing it until the last possible moment. Istead, focus on the vowel sound that precedes it. An example would be the word, "ALL." If you are holding on this word you would sing it "AHAHAHAHAH-L," leaving the "L" sound just as you finish singing the word. The "L" sound pulls everything in the mouth together and we know that we can't do that, right?

The second consonant that we want to cover is the letter "N." Here again, we don't want to sing "N" unless it is the beginning of the word, the beginning of a syllable, or the last letter of a word. To modify the "N" sound it is like dropping the letter out of the word. An example of that would be the word "KING." We would sing it "K-IH-G" using the "short I" sound. Let's try one more example, "AMAZING" would be sang, "AH-MEH-ZIG." We have modified the vowels and dropped the "N" in the "ING" on the end. I know it sounds a little confusing right now but you will get it, just hang in there with me a little longer.

There is one more and that is the letter "R." It is the same as the other two letters in that you don't sing it except at the beginning of the word or syllable and the end of the word. When it is at the end of the word you wait until the last possible moment to sing it as in the letter "L." For example in the word "ARE" we would sing it "AHAH-r." The emphasis would be placed on the "AH" sound and using the "R" just as you are closing off the word. The "R" should never be where you hold your note. It closes everything together and will make the pitch flat and very unpleasant to listen to. If you remember from past articles we must keep the mouth open and the soft palate raised and these three conconants will not let us do that without the modification of them.

To modify your vowels and consonants it takes some work but the results are well worth the effort. This one act will change your singing for the better in more ways than one. It will give your singing that professional sound like nothing else can. Next time we will put this to use in a song so that you can see how it all works together.

Until then, may God keep blessing you and remember to keep singing His Praises!

Marti Ledford
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Reader Comments

I don't agree that it's desirable to eliminate these consonants in the middle of words, especially in Southern Gospel. In Marti's example of the word "king," it is true that you should not clamp down on the "n" for the sustained portion of the note. However, it sounds un-natural to me to hear "kig" instead of "king." Go ahead and do the entire diphthong after sustaining the vowel, "nnguh." By this logic, you would sing "Ah-wayz," for the words "always." Better to sustain the "Ah," then sing "lway," sustaining the "ay" for the next duration, and finally stick the "z" sound on at the last possible second.

Now, let me add that the idea of sustaining vowel sounds as long as possible is a very good point, and should be re-inforced often. I commend Marti for pointing that out. I just think that completely dropping consonants to correct the problem of closing down on undesirable sounds early is a lazy fix that creates other problems, namely, misUHderstood words. :o)

Commented by On 02/12/2003

David said: I just think that completely dropping consonants to correct the problem of closing down on undesirable sounds early is a lazy fix that creates other problems, namely, misUHderstood words. :o)

Deon said: Actually David, Marty is right. Though it may at first "feel" un-natural or un-desirable when singing this way, the sound produced is much better, especialy when this is applied to group singing. I have found that in most cases, as hard as you try to totally eliminate that consonant, most people still have a tinge of the consonant come through anyway, but trying to remove it gives you a more uniform sound and words that are easier to understand.
It is far better top remove that consonant than to hit it too hard or dwell on it.

Commented by On 02/14/2003

When instructing a large group like a choir, I agree you need to overstate what you want in order to get the proper sound overall. There's going to be some "slop" in there, unless the choir is extremely well trained.

For the Southern Gospel quartets and smaller vocal configurations that are likely to be reading this column, though, I think there's less need to overstate. Successful SG singers (like Tim Duncan on "Stand By Me") do pronounce their diphthongs, especially when they have the melody.

Commented by On 02/15/2003

Actually the Southern Gospel Quartets and smaller configurations are exactly the ones who NEED to overstate their pronounciation. By the time singers have reached the professional level, they should be overstating their pronounciation just out of habit. Even 35 years ago when I was at the Stamps School, which at that time was being taught by the pros in SG, the emphasis was to overstate, using Jake Hess as a prime example. I think that you will find that all of the professional vocal instructors agree with Marti. Just because a professional singer does it, does not make it the right way to do it, or the right way to teach it. I go into this further on my vocal tapes.

Commented by On 02/15/2003

Just for clarity, when I used the word "overstate" above, I was talking about the instructor asking for more than they actually want from a group of singers in order to allow for those who won't do it completely. You're using "overstate" as it applies to the way a singer pronounces words. I agree with you that singers should overemphasize words to more dramatically convey the meaning of a song, or to create a unique singing style.

Where we differ is on the technique. When I accompanied for voice instructors in college and also took voice lessons myself, I noticed the teachers often had a tough time undoing poor techniques that students had been taught previously by high school choir directors. One of these was fixing diction in kids that thought they were sounding "propuh," eliminating "r" on the end of a word, for example. The best teacher I accompanied would often ask, "Do you pronounce the word that way when you talk? No? Well, then don't sing it that way." (Of course, I realize some people don't pronounce the word correctly in the first place, so in that case, you'd need to back up and correct that issue.)

Now, when I teach a singer, I encourage them to pronounce words in a way they can be clearly understood by the listener, emphasizing most consonants (except those that are naturally emphasized, like the evil "s" hiss) with precision, while sustaining open vowel sounds for held durations. I'd give that same instruction whether the singer was a pro or a high school kid about to do their first solo.

I guess I'm not understanding how you agree on one hand that an "n" in the middle of a word like "stand" should be dropped (not delayed), while on the other hand, you say that words should be overstated by pros, even if it isn't the "right way." That seems like a contradiction to me.

Commented by On 02/16/2003

Thanks for clarifying, however there is no difference between wanting the group or the singer to over-emphasis. You are trying to accomplish the same thing. If you are trying to get a singer to pronounce his or her words in the same fashion that they use in speaking, then you are doing so in opposition to anything I have ever seen or heard taught on the subject. You do not sing with the same expression or pronounciation that you talk. I'll use the extreme example of country singer Mel Tillis. He cannot talk in timing without stuttering, but can sing in rythm with no problem. There is no contradiction because we are talking two different animals here. One talking, the other singing.
While there may be a college instructor teaching another way, most professional vocal instructors will agree with Marti. I have had vocal students with degree's in music that never learned the correct way to sing in college, couldn't even breathe correctly.

Commented by On 02/16/2003

The comments of Deon and David have been interesting to read. I am always open to new ways of teaching and will try some of the suggestions made by both gentlemen. I know that everyone has their own method of teaching and can get the same results. The techniques in my article are the things that I have found gets the best results for my students. I do respect others opinions and will certainly consider the comments made here. Thank you for taking the time to read and comment on the article. We all need to help SG singers learn the correct techniques so that our music can become the #1 music of this century.God bless.

Commented by On 02/25/2003

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