Definition of Tessitura

Literally, “tessitura” is the Italian for “texture.” So it isn’t just the range of pitches that is included in the concept of “tessitura”, but also their arrangement. Examples of differences in tessitura include: does the piece have mostly sudden or gradual rises and falls in pitch; the relative number of very high or low notes, not just the total range; whether lines and phrases of music in the piece tend to rise or fall – the muscular tendencies of a singer may be more suited to one or the other direction. Speed of the changes in pitch is also a factor.

The ability to sing pieces with fast or slow note-changes is related to the muscular tendencies of a singer. This difference may be similar to, or identical to, the distinction made in sports medicine between slow-twitch and fast-twitch muscular abilities. Singers who can change pitch easily and gracefully may have difficulty singing long, sustained passages, and vice versa. Young singers need to learn this and until they do, may choose pieces which they can’t sing well — the tessitura needs to be considered.

From http://en.wikipedia.org/wiki/Tessitura

Pharyngeal Vowel Exercise

Pharyngeal Vowel Exercise:

Excerpt:

The next step is to work with the pharyngeal vowel exercise that I designed years ago. I have found it works with approximately 95% of singers. Have the singer sing a 5-tone descending scale with the tongue between the lips imaging the vowel space straight back behind the tongue. Then have the singer place the tongue inside the mouth and sing the five basic vowels in any sequence KEEPING the pharyngeal vowel space behind the tongue root. You will find a large, resonant, yet body-connected sound results. Vocalizing with the tongue between the lips in the middle register demands a body connection and this is a good way for teachers to vocalize any student who has difficulty with this concept.

Causes of Vocal Fatigue

Causes of Vocal Fatigue by David Jones (2001) VoiceTeacher.com.

Causes:

(1) Smoking or drinking alcoholic beverages.

(2) Belting: using too much chest voice pushed up to high in the scale.

(3) Using a technique with a tight solar plexus during singing.

(4) Singing with a high larynx.

(5) Singing with a low soft palate.

(6) Singing with a forward jaw position.

(7) Singing with the vocal cords too far apart or too squeezed together.

(8) Pushing too much breath pressure through the larynx.

(9) Incorrect posture; dropped chest or hyper-extended chest.

(10) Singing with the head posture pushed forward from the spine.

(11) Use of mouth vowels instead of pharyngeal vowels.

(12) Unsupported singing; lack of connection to the resistance of breath pressure in the lower back and abdominal muscles.

Singing High Notes on the E Vowel

If a single vowel is sung over multiple notes it’s usually good technique to keep the vowel sound consistent through the passage. (Unless it’s for intentional effect, aka rock and blues). One of the factors between a mediocre and professional chorus is consistent pronunciation throughout the group.

To sing a closed locked vowel like the “eee” sound, prepare the back of the throat as if singing an “ah”, but keep your lips in the pronunciation of the “ee”. This will allow the voice to open up through the higher register while keeping a consistent vowel sound.

In difficult classical passages for sopranos and tenors it may be necessary to slightly adjust the “ee” to more of an “ah” sound. The deciding factor is to keep the vowel sound as consistant as possible without negatively affecting the vocal tone. Only use as much “ah” as is necessary for good tone.