6.7 Growth in the choral tone  (Page 5/2)

Growth in the tone

During the discussion of the first rehearsal, and previously in this collection of modules, the concept of growth in the tone was mentioned. This concept, which is referred to as growth or stretch of a tone, is important to a warm, lyric choral tone. The word lyric has been added at this point and is very important. It is the one quality that many choirs do not have. It is also the one quality that is so important to the teaching of private voice. The rising, spinning quality in a voice that seems to be lightly balanced on a steady column of air, is characteristic of a free tone that has the quality known as lyricism. More beautiful singing can be accomplished lyrically than by attempting to create powerful masses of sound. A lyric voice can have a forte and still produce an intense, vibrant soft tone. In fact, intensity and vibrancy are two necessary qualities of a good, lyric tone. This tone must be approached with a free throat and a solid foundation of proper breathing.

The growth in a tone may be visualized as:

If this concept is overdone, it can result in a mushy tone. But if used with understanding and common sense, it will allow a choir to develop a warm tone that has strength and beauty. It also makes a choir more alert to the molding of sensitive phrasing.

Have a choir sing in unison on mee, may, mah, moh, moo, letting each half note grow to the center of the note and. Place the choir in a four-part chord and do the same thing. Figure 2 is a chantlike melody that is easily used to develop warm, sensitive phrasing using tonal growth.

Each note must be stretched as it is sung, even for its short duration. A sense of a sigh can be the feeling at the ends of the phrases, with the release coming as though one stopped just before the end of a sigh. There is no "falling off" as in a sigh, but the release will seem to float on the breath. These releases can be just as precise as those that come from a clamping off of the tone. Releases should be attained by an inhalation of air. This will guarantee stopping the tone and again save the voice from abuse.

Treat the beginnings of phrases here, and in most literature, as clear beginnings but not as attacks. Many choral phrases require a beginning that starts "on the breath." There is a slight exhalation of air an instant prior to the attack. This is not enough to aspirate the first note but enough to take away sharp accents and bludgeoning openings. This use of the breath also helps the singer open the throat. It should be noted that there are times when phrases must begin with a sharp attack. There will also be times when the release must even be accented to satisfy a stylistic trait, but most of the time this is not the case.