Functional voice training

Functional voice training (often also called Functional Voice Development) is a term that the American vocal scientist Cornelius L. Reid coined and spread. Functional voice development means the formation and development of the human voice on the basis of natural physiological laws of voice function. It is characterized by the stimulation (stimulation) reflex (involuntary) behavior of the vocal mechanism and a spontaneous muscle movement promoted by rhythmic exercises that reacts absolutely freely to the rhythmic impulse. The aim of voice training is conscious control over an involuntary muscle system .

Functional voice development

Functional voice training is based on the insight that physical functions are fundamentally useful and that an organic system can be restored to its original state and its performance can be improved by controlling its surroundings.

In general, voice is movement of air caused by muscle activity in the vocal folds that is perceived as a sound or pitch. The vibratory pulses are generated by a mechanism commonly referred to as the vocal organ. In reality there is no such organ. The organ system, on the other hand, which is used to produce sound, is a combination of two vital functions, namely breathing and part of the digestive system . Both tasks take place inside in the cartilaginous structure of the larynx. Singing is therefore not a function in itself, but a secondary or derived function .

“Every note sung consists of pitch, volume (intensity) and vowel. These three parameters trigger muscular correspondence in the larynx. They are therefore directly linked to a certain attitude or muscle activity of the larynx muscles. Because of this direct connection, it is possible to stimulate the expected coordination of the larynx muscles through carefully selected vocalises ”.

The practiced hearing, which is required for the development and coordination of the larynx muscles (register), is a special skill that must be acquired. Knowledge of functional hearing has been expanded and refined over the centuries through ongoing empirical observation. The ear was therefore attuned to recognize different register equilibria. This way of hearing was particularly widespread in the bel canto era and has been rediscovered and implemented in practice for today's vocal pedagogy by the American Cornelius Reid, the spiritual father of the term functional voice development.

Four simple principles form the basis of functional voice training:

the two-register theory
the need for the pure vowel
the use of rhythm to stimulate the muscles to be spontaneous
the choice of dynamics (loud or quiet)

The work on resonance settings and breath control are not part of the functional voice training curriculum, since resonance is a condition, the effectiveness of which depends on the vibrations generated at the sound source, on the bone structure and on the shape of the adjacent mouth and throat cavities. The quality of the register development alone, and thus the quality of the larynx function and its ability to coordinate, determine the quality of the cooperation between all parts of the vocal apparatus, including the quality of breathing.

The two register theory

The concept of the register is borrowed from the world of organ building. An organ register is understood to mean the row of pipes which, due to its construction, has a uniform sound characteristic across the entire range. With the help of different registers, the organist can then elicit the various registers, i.e. timbres, from the instrument.

In the human voice, too, a register is understood to be a group of tones with the same sound characteristics. If the construction of the pipes on the organ (i.e. the material and the ratio of length and diameter) is responsible for the sound characteristics (e.g. flute, trumpet), then the sound characteristics of the registers in the singing voice (chesty or falsetto sound) can be traced back to special settings of the muscle system, which adjusts the physical structure (configuration) of the vocal folds through its movement and maintains the vibration ratio of the vocal folds.

The recurring question in the singing world is what a register is and how many of them there are in men or women. According to the great theorist and teacher in the 19th century, Manuel Garcia (1805–1906), a register is: “a series of successive homogeneous sounds produced by a mechanism, which are essentially different from another series of sounds that are equally homogeneous but produced by a different mechanism, differs ".

Another definition of tension in the vocal folds during sound formation is given by Douglas Stanley, whose work revived interest in traditional notions about registers: “There are two groups of muscles that act as tension muscles of the vocal cords: the cricothyroid and arytaenoid muscles. A register determines the excess weight of one muscle group over the other. Hence there are only two registers in the human voice ”.

The mechanisms of these two muscle groups are the same in men and women. Their audible equivalents are commonly referred to as the chest voice, falsetto, or head voice.

The chest voice is made exclusively by the internal larynx muscles , the Mm. arytaenoidei , which are functional for the contraction of the vocal folds, i.e. H. the vocal cord closure are responsible. This sound quality is associated with greater volume, the vowel 'a' , i.e. H. a coarser masculine sound, stronger vocal cord closure and lower air consumption and is from the pitch (e ') down in male and female voices.

The falsetto voice is produced exclusively by the larynx muscle , the cricothyroid muscle , located outside the thyroid cartilage , which is functionally responsible for stretching the vocal folds as well as for a minor involvement of the vocal fold opener, the posticus. This sound quality sounds particularly breathy, is associated with an absolute piano and the vowel 'u' and is within the pitches (b - b ') for male and female voices. The glottis is slightly open and the air consumption is relatively high.

The head voice is functionally a sound result, triggered by the balanced coordination of the two register mechanisms, the chest register and the falsetto, in which the tension of the falsetto register predominates. From a functional point of view, the head voice is not a register. It is only so called because the singer perceives vibrations, which are caused by the correctly coordinated muscle settings and the correct tension behavior in the larynx, more strongly in the head.

Successful register coordination depends solely on the ability to hear the different sound quality features such as chest voice or falsetto caused by the two vocal registers (muscle activities) and to be able to harmonize them. Since all tones that are generated by vocal organs can be traced back to muscle activity, both the chest register and the falsetto owe their different sound properties to the predominance of the action of a muscle system that tensions the vocal folds over the action of its opponent (antagonist).

The external larynx muscles (Mm. Cricothyreoidei) have no influence on the approach of the vocal folds or the closure of the glottis because they do not come into contact with the air supply and are therefore solely responsible for the change in pitch.

In the method of functional voice development, the vocal functions “straw bass” and “ whistle register ” , which are also classified as functional registers, play no role. Reid ignores the straw bass, which is seldom used for European singing, and assigns the whistle register to falsetto as a special function.

→ see also: Functional registers

The muscular adjustment mechanism of the vocal folds is independent of gender.

All vocal genres - male and female voices - have these mechanisms in common - with the small restriction that it is more difficult for women to hear and isolate a falsetto, as this is by nature often already coordinated in some way with the chest register.

The pure vowel

Each singer triggers a spontaneous muscular action through his imagination before the tone presentation (pre-phonatory sound presentation), which leads to a sound result that is a spontaneous reaction to the combination of pitch, volume and vowel associated with the tone presentation. Thus, a vowel presentation regulates the formation and adjustment of the pharynx and the vibration behavior of the vocal folds.

Differences in timbre are not based on changes in pitch or volume, but rather on muscle activities that regulate the settings of the mouth and throat, a process that selects very specific frequency ranges (formants) while suppressing other frequency ranges. By changing the setting of the articulation muscles (lip, tongue, palate, mouth, etc.), these formant frequency ranges are changed, i. H. the vowel and tone color changes. The first two formants F1 (natural frequency of the oral cavity) and F2 (natural frequency of the pharynx) are characteristic of the vowel color.

Physical control over vowel properties is thus made possible either through a mental imagination or the shaping of the pharynx and the oral cavity. In order to obtain sound results with special sound properties, one uses the property of certain vowels to preferentially connect to a certain register.

In order to hear a pure falsetto , for example, it is imperative to use the correct vowel that brings out the specifics of the register that creates the falsetto sound. By using the vowel "u" in the correct pitch between (hh ') , this special vocal fold configuration is brought about, which produces the typical sound character of the falsetto. In the pure falsetto that then emerges , the tones are very breathy, completely airy, without vibrato and can no longer be endured. The specified tone scales are valid regardless of gender; The scales are therefore not to be transposed up an octave for female voices, but relate to their lower register and the higher register of male voices. In order to be able to hear the coarser quality of a pure chest register , on the other hand, use the vowel "a" below the pitch (a) .

In order to achieve significant progress in the development of the voice, in addition to the spontaneous muscle movement, functionally trained hearing is always required, which can observe the sound result produced by the reflex movement and compare it with the previously intended tone.

Functional hearing

The Functional hearing does not go from an aesthetic premise, but on the understanding of the complex physiological and functional processes of the human voice. Not all sound qualities of sound are beautiful, especially those that emerge during a developmental stage in the integration of breast and falsetto registers. Nor are all aesthetically acceptable tones functionally healthy. As in physics, a mechanism - including the tuning mechanism - is efficient when friction and resistance are minimal. As soon as the singer can perform a messa di voce on a note , friction and resistance are minimal. Taking this physical condition into account when developing the voice results in increased vocal range, greater mobility, more economical use of breath, vowel purity, freedom from facial distortions and largely the absence of fatigue.

Use of rhythm

Rhythm-based exercises promote the spontaneity of muscle movements and are therefore another key key to freer vocal production, which reacts absolutely freely to this rhythmic impulse and thus enables the logical movements of the vocal organs in the first place. This behavior results in a growing awareness of the self-regulating ability of the vocal mechanism, which corrects itself through this stimulus!

All organic systems are influenced, regulated and controlled by the environment to which they are exposed. Therefore, the exercises made up of specially intended combinations of pitch, volume and vowel are a prerequisite that directly influences, regulates and controls the sound result. The most important aspect here is the need to give up familiar control systems and avoid mechanical repetition of routine exercises in order to be able to react to the respective development stage of a voice with appropriately tailored exercise suggestions.

Functional voice development is characterized by the stimulation (excitation) of reflexive (involuntary) behavior of the voice mechanism. The aim is to gain control over an involuntarily working muscle system.

However, since there are no conscious and voluntary control systems in the human body that are capable of acting on the involuntary muscle system responsible for producing sound, control over an involuntarily working muscle system can only be obtained through the detour of conscious stimulation of the vocal muscles. This stimulation is brought about by the combination of a certain pitch with a certain volume and a certain vowel.

Pitch, volume and vowel as control factors

If you change the pitch , the configuration (physical shape) of the vocal folds changes accordingly.

If you change the volume , the contraction of the antagonistic muscle system increases, which increases its vibration behavior accordingly in order to be able to bring about this change in volume.

If you change the vowel , the neck tube and the physical shape of the vocal folds will adapt at the same time.

Every change results in a direct change in the sound results (sound properties). In view of these interactions, it is possible to consciously use the pitch, the volume and the vowel as control factors for the involuntary events within the larynx muscles.

Separation and coordination of registers

Almost all vocal parts are unbalanced in the balance of the register mechanics. In order to be able to remedy this deficiency, the weak register has to be strengthened so that it can then be better coordinated with the second, ready for use.

The voice scientist Stephan F. Austin describes this as follows: “There are two opposing muscle systems in the throat and each of them determines the elementary nature of a register. (Today's scientists confirm this old theory). Strengthen a muscle system and you form a register. Almost all of the vocal parts are imbalanced in one of the two registers, and because that is so, the voice cannot function properly. Take the weak register and strengthen it. Once invigorated, align it with the dominant register and the voice will reach its full potential. The success will be that all register differences will disappear! Volume wakes the chest voice when speaking. Chest register is the source of the strength and fullness of a tone. The falsetto, the source of lightness and flexibility, brings out the soft tone. The "a" is the vowel of the breast register, the vowel "u" that of the falsetto. Through appropriate exercises (with these vowels) we achieve a muscular condition that makes weakness strong and balances strength. Nature will prevail and the outcome will be predictable. The blessing of this principle lies in its simplicity ”.

“For the work of the register mechanics, this means that in order to be able to strengthen a register, you first have to practice it in isolation for a short time in order to briefly override the unbalanced balance of the musculature in order to coordinate it with the more dominant register a few minutes later . In no case does it mean a method of permanent separation of registers ! "

Conclusion

Functional voice development is constant change and adaptation. It involves observing what is currently happening, not what is about to happen. It leads to an increased ability of the ear to perceive different sound qualities. The meaning of the pure vowel and the rhythmic phrase for spontaneous muscle movement, as well as the demand for simplification, avoidance of unnecessary body movements and concentration on the essential work on the voice forms the basis for this concept.

Technical vocal development is not a program to control a vocal apparatus, but a process by which muscle disorders cancel themselves out. This always occurs when one follows organically conditioned laws. Functional voice training is not a singing method, but rather the process of developing the voice itself reveals the dynamics of the underlying organic principle that guides the vocal mechanism and vocal movement patterns.

Individual evidence

↑ The term functional voice training used by Rabine and Rohmert is no longer fully compatible with the principles of Cornelius Reid, whose teaching concept they first spread in Germany and should not be confused. E. Rabine and G. Rohmert now lead independent teaching institutes and each took a slightly different path, even if they still use the term Reid coined today.
^ Reid, Cornelius: Voice Science: An Evaluation . In: Australian Voice , Journal of the Australian National Association of Teachers of Singing, Vol 11. Australian Academic Press, Bowen Hills 2005, pp. 7, 14 ff.
^ Tiedge, Tobias D .: Scientific work, University of Hanover, 2006: Belcanto - The forgotten method, manuscript.
↑ Manuel Garcia: The Art of Singing I, Boston approx. 1855, p. 6 .; see also: Traité complet de l'art du chant, Mainz o. J., S.XIII.
^ Douglas Stanley: The Science of Voice , New York 1929, p. 7.
↑ Reid, Cornelius: A Dictionary of Vocal Terminology - An Analysis, New York 1983, pp. 142 ff. And Reid, Cornelius: Voice Science: An Evaluation. In: Australian Voice, Journal of the Australian National Association of Teachers of Singing, Vol 11. Australian Academic Press, Bowen Hills 2005, pp. 6-24.
↑ Blume, Leonore and Peckham, Margaret: Functional voice training concept in the 21st century in : Erbe des Belcanto, Schott, Mainz (in preparation).
↑ Austin, Stephan F .: Confession of a Golf-Playing Voice Scientist in: Australian Voice, Volume 4, 1998, pp. 1-4.
↑ Blume, Leonore and Peckham, Margaret: The rediscovery of the Belcanto technique in : Das Orchester , 2001, issue 11. P. 29 f.

Web links

Website on Cornelius Reid

[1] The term functional voice training used by Rabine and Rohmert is no longer fully compatible with the principles of Cornelius Reid, whose teaching concept they first spread in Germany and should not be confused. E. Rabine and G. Rohmert now lead independent teaching institutes and each took a slightly different path, even if they still use the term Reid coined today.

[2] Reid, Cornelius: Voice Science: An Evaluation . In: Australian Voice , Journal of the Australian National Association of Teachers of Singing, Vol 11. Australian Academic Press, Bowen Hills 2005, pp. 7, 14 ff.

[3] Tiedge, Tobias D .: Scientific work, University of Hanover, 2006: Belcanto - The forgotten method, manuscript.

[4] Manuel Garcia: The Art of Singing I, Boston approx. 1855, p. 6 .; see also: Traité complet de l'art du chant, Mainz o. J., S.XIII.

[5] Douglas Stanley: The Science of Voice , New York 1929, p. 7.

[6] Reid, Cornelius: A Dictionary of Vocal Terminology - An Analysis, New York 1983, pp. 142 ff. And Reid, Cornelius: Voice Science: An Evaluation. In: Australian Voice, Journal of the Australian National Association of Teachers of Singing, Vol 11. Australian Academic Press, Bowen Hills 2005, pp. 6-24.

[7] Blume, Leonore and Peckham, Margaret: Functional voice training concept in the 21st century in : Erbe des Belcanto, Schott, Mainz (in preparation).

[8] Austin, Stephan F .: Confession of a Golf-Playing Voice Scientist in: Australian Voice, Volume 4, 1998, pp. 1-4.

[9] Blume, Leonore and Peckham, Margaret: The rediscovery of the Belcanto technique in : Das Orchester , 2001, issue 11. P. 29 f.