Edge tuning function

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The designation of the marginal voice function , or the marginal voice for short, characterizes the edge-shifted muscle mass configuration of the vocal folds , which reduces the vocal fold swing mass .

properties

The marginal edges of the vocal folds vibrate periodically when the marginal voice is used. Due to their relative delicacy and lightness, the marginal edges are an essential means of reaching the heights required by the lieder, oratorios and opera literature in classical singing, which cannot be achieved by the heavier full and middle voice function.

Meaning in singing

Far before the controversial belting , the whistling and fistula function of the vocal folds, the marginal voice is the most widespread, albeit poorly understood, concept for singing in higher registers. The marginal voice can be mixed with other vocal registers such as the snore register, the chest register and the (hard) middle voice register . If you go this way, the tone change in the upper passaggio (register transition ) is reduced .

In the best case, the mixed marginal voice above the upper passagio has a darker sound (Italian chiaroscuro, i.e. “light and dark”), which results from the increased use of the pharyngeal resonance spaces. Depending on the singing technique, this transition is more or less audible. However, a vowel alignment is inevitable for the height, as some vowels influence the lower position of the larynx and the width of the throat. For this reason, as a subjective sensation, “u” and “o” are usually mixed more strongly into the sound with increasing pitch due to their nature appealing to the edge.

In order to optimally integrate the marginal voice into the mixed voice (voix mixte), open resonance spaces , a wide throat, a deep position of the larynx, an independently working tongue, a slightly downward sloping and relaxed chin, and an oval, adapted to the opening of the throat Lip opening and a healthy vocal cord closure (also known as “coup de glotte”) are essential. If these requirements are not met, the singer has problems bringing balance to the tone and muscle activity in the area of ​​the vocal apparatus, and various secondary technical errors are the result.

Use in voice technique

The marginal part is used in two different, similarly common ways:

  1. The marginal voice is only activated in the upper passaggio (with basses around h- c sharp ', with baritones around d'- es ' and with tenors around f 'to g'), which usually results in a clear "cracking", i.e. a change in resonance and timbre is audible.
  2. The marginal voice can also be integrated into the sound in the depth, so that the transition merely represents a continuous shift in the mixing ratio, which, depending on the vocal disposition (lyrical to dramatic), can be made inaudible.

→ see also: Vocal register

Tonal influence of the marginal voice

As can be shown by formant and frequency analyzes, the sound spectrum of the sung tone gains upper sound (primarily between 3.5 and 5 kHz) by incorporating the peripheral voice. As a result, the voice gains in size and carrying capacity, which is essential in large concert halls and theaters.