vocal etudes book
TRANSCRIPT
Daniel R. Dehaan
Three Études For Solo VoiceSummer 2010, Chicago
Daniel R. DehaanThree Études For Solo Voice
Summer 2010, Chicago
Copyright © 2010 by Daniel R. Dehaan All rights reserved including performing rights.
General Remarks
These études attempt to focus on the voice as an apparatus. For a singer these may be used to help develop a better control over different parts of their instrument. As a composer this was a study
in the organization of the modern vocal techniques into coherent musical gestures and works.
It is recommended that any performer use in conjunction with these works Michael Edward Edgerton’s book The 21st-Century Voice, to help clarify and deepen their understanding of the
techniques used here, as well as any material on The International Phonetic Alphabet. (the composer recommends the online source, <www.yorku.ca/earmstro/ipa/> by Eric Armstrong of York University and Paul Meier of the University of Kansas
Performance: Should one choose to perform any or all of these études, here are some suggested guidelines.
Solo Performer: One microphones should be placed near the performers mouth, with a moderate amount of reverb. Performer may either play through the compositions exactly as written or take whatever liberties they feel appropriate and treat the materials as a map for improvisation, with the exception to Formations, which should always be performed strictly as written.
Multiple Performers: No microphones should be used. Performers should arranged themselves evenly surrounding the audience. All performers should wear earplugs so as not to be able to hear other performers. A cue should only be given to mark the start of the piece. The ensemble may choose to follow the compositions as written or take whatever liberties they feel appropriate and the treat the materials as a map for improvisation, with the exception to Formations, which should always be performed strictly as written.
Airflow
The focus of this étude is on the control and timbrel changes of six contrasting airflow modulation.
Airflow Direction:
1) Egressive (outward)(first shown in mm. 1)
2) Ingressive (inward)(first shown in mm. 2)
Airflow Source:
3) Lunged (air that originates from decompression of the lungs and is forced outward)(first shown in mm. 8)
4) Unlunged (air that is static within the oral cavity being forced out, without the use of the lungs)(first shown in mm. 8)
Airflow Mixture:
5) Pitch (sound that is dominated by vocal chord vibrations)(first shown in mm. 11)
6) Breath (sound that is dominated by aspiration)(first shown in mm. 19)
General Notation Remarks:
- All vocal sounds are notated in the International Phonetic Alphabet (IPA), which should be used to clarify pronunciation. <www.yorku.ca/earmstro/ipa/> Is a great online source by Eric Armstrong of York University and Paul Meier of the University of Kansas
- Material notated on single line staff indicates unvoiced/non-specific pitch. Material notated on a five line staff indicated voiced/specific pitch.
- Dashed-lines ending in an arrow, between IPA symbols, indicates to smoothly morph first phonetic to second phonetic.
- Trill lines are used to indicate vibrato. (mm. 11 - 18, each gesture is to move from normal vibrato to molto-vibrato, and return to normal vibrato.)
- MM. 19 - 21 performer is to alternate between the two indicated phonemes while, morphing to next indicated phonemes.
Copyright © 2010
Solo Voice/u/
n.
/u/
f n.
/u/ /f/
ff pp
/a//h//!/
n.
Controlled Breathingq = ca. 60
/ti/
n. p
/ta/
n.
/ti/
n. mf
/ta/
n.
/m/
pp
8
/a/
mp
/i/
mf n.
/m//a/
n. mf
/m//o/
ppf
/m//i/
f ppp
/i/
n.11
/a/
ppp
/a/
ppp
/f/
ff
/u/
n.
/u/
ff
/u/
mf pp
/a//h//!/
n.24
/ {(unvoiced)
(ingressive) ¿ (egressive) { ¿Daniel R. Dehaan
Air"ow
/unlunged lunged unlunged lunged unlunged normale
(voiced)
gliss.12:8 12:8 12:8 12:8
&(pp)ÍÍÍÍÍÍ mf¯¯¯¯¯¯¯Í̄ÍÍÍÍÍ
/a/
mp
/u/
ÍÍÍÍÍÍ mf¯¯¯¯¯¯¯Í̄ÍÍÍÍÍn. { ÍÍÍÍÍÍ̄ ¯¯¯¯¯¯¯ ¿ÍÍÍÍÍÍ breath:
¿
& ! { ¿/ { ¿
Y Y Y Y Y Y œ œ ¿ Œ
˙
˙ ˙ œb œ ˙b ˙ œ œb ˙ ˙ œb œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œb œ œ œ œ œ œ œ ˙b Œ Œ
˙b ˙ ˙ ˙ ˙b ˙ ˙ ˙ Œ Œ Y Y Y Y Y Y œ œ ¿ Œ
Sources
The focus of this étude is on the combination or isolation of the vocal apparatus sound production sources.
- Bilabial Trill (rapid vibration of the lips)(mm. 1)
- Vocal Fry (produced by minimal air pressure and attempting to sing several steps below singers range, results in a moderately rapid series of clicks.)
(mm. 26 - 30)
- Lingual Trill (rapid vibration of the tongue)(mm. 4)
- Harmonic Voice (smoother vocal fold movement)(mm. 32 - 35)
- Uvular Trill (rapid vibration of the uvula)(mm. 7)
- Rough Voice (distorted vocal fold movement)(mm. 32 - 35)
- Tongue Whistle (interaction between tip of the tongue and upper dentals, similar to modulating between /s/ & /t/ to isolate high frequencies within the aspiration sound.)
(mm. 16 - 18)
- Glottal Whistle (produced by ingressive breathing and an extreme tightening of the the glottis, results in a pure high pitched whistle)
(mm. 36)
General Notation Remarks:
- All vocal sounds are notated in the International Phonetic Alphabet (IPA), which should be used to clarify pronunciation. <www.yorku.ca/earmstro/ipa/> Is a great online source by Eric Armstrong of York University and Paul Meier of the University of Kansas
- All material notated on single line staff, to indicate unvoiced/non-specific pitch.
- Dashed-lines ending in an arrow, between IPA symbols, indicates to smoothly morph first phonetic to second phonetic.
- Trill lines are used to indicate intensity/duration of trill.
- Ingressive breathing is shown same as in Airflow. (simple arrow followed by a dashed-line)
- Diagonal arrows over mm. 21 - 24, indicates a sudden increase of airflow, similar to the jet-whistle technique on a flute.
Copyright © 2010
Solo Voice/b/
mf
/p/
n.
/a/
n.
/!/
mf
/ta/
n.Choked & Fragmentedq = ca. 115
/o/
n.
/a/
mp
/i/ /o/
n.7
/i//!/
n.
/e/ /a/ /o/ /u/
ff
/o/ /a/ /e/ /i/ /!/
n.11
/s/
n.p
mp
/o/
ff
n.n.
16
/u/
n.
/t/
mp
/!/
pp n.
/u/
n.
/t/
mp
/!/
pp
/||/
mf
/h/
n.21
/"Bilabial Trill"¯¯¯¯¯¯¯¯¯¯¯
¿ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
¿"Lingual Trill" ¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍÍ
¿
Daniel R. Dehaan
Sources
/"Uvular Trill" ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ̄ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ !
/
( morph mouth shape according to vowel phonation to alter the timbre of constant /!/ )
¿ ¿!
/
Breath:
"TongueWhistle"
(lowering jaw)
//s/
ff
h h ¿. . .
h /s/
ff
h h ¿. . .
h /w/
ff
h
("Aveolar Lateral Clicks")
¿ h
. . .
Y ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿j ‰ Œ Y ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿j ‰ Œ
Y ¿ ¿ Y
œ̇ œ œ̇ œ œ œ̇ œ œ œ̇ œ
Y Y Y Y ¿ Œ
¿ ¿ " ¿ ¿ ¿ ¿ Œ ¿ ¿ " ¿ ¿ ¿ ¿ ™ ¿ ¿ ¿ ¿ ¿ Œ
p n. ff n.26
ppp mf ff n.
/!/
pp
/h/
32
/Breath:
"Vocal Fry"
!
/{harmonic voice
> >gliss. >gliss.
( Unstable ingressive gliss., allow multi-phonics & overtone jumps to occur )
>gliss. >gliss.
rough voice
> , >gliss. >gliss. >gliss.
harmonic voice
>gliss.>gliss. gliss.
¿, {U"Glottal Whistle"
From upper register multi-phonic, search to "nd a highglottal whistle. Once achieved, dim.
¿h
{h
>
Y Y Y Y ¿ Œ
œ œ œ œ ™ œ œ œ œ œ œ œ + + ¿ ¿ Œ
2
Formations
The focus of this étude is on the understanding of, and distinction between IPA symbols.
General Notation Remarks:
- All notational conventions developed in Airflow and Sources are maintained.
- All material is notated on a three lines staff as a means for specifying general register of sounds relative to performers vocal range.(top line = high, middle line = medium, bottom line = low)
- Vocal-Fry is now indicated by a square-wave-line connected to it’s corresponding stem.
- Specific vibrato rhythms are indicated above the staff.
- Square Note-heads indicate voiced material.(an arrow connected to a note-head indicates a gliss. with an unspecific ending pitch)
- Lines connecting note-heads indicates to gliss. between the two relative pitches.
/e/ /a/
Copyright © 2010
pp mf f p pp f ff f pp ff mp n. pp mf f p pp f ff f pp ff mp n.
Quasi Rubato: To be performed as rapidly as possible.Maintaining clarity and distinction between phonemes.
pp mf f p pp f ff f pp ff mp n
5
pp mf f p pp f ff f pp ff mp n.
9
24 24
24 34 14 24
24 34 28
÷ /p!/ /!/,/b/
/i/ /I/
> { ¿
/m/ /"/ /"/ /"/ /"/ /"/ /"/ /"/ /"/
,/B/
> >
~~~~~~~~ /t!/ /!/,/d/
/#/ /æ/
{ ¿
/$/ /%/ /%/ /%/ /%/ /%/ /%/ /%/ /%/,
/r/
> >
~~~~~~~~
3:2 3:2
Daniel R. Dehaan
Formations
/&/ /&//&/ /&!/ /!/ /'/
{/'/
/'/
¿/(/
/(//y/ /)/
>
/ø/
>vib:
/œ/
{k K
/*/
¿
/n/ /"/ /%/ /+/ /"/ /%/ /!/ /"/ /%/ /!/ /"/ /%/ /!/ /"/ /%/ /!/ /"/ /%/ /!/ /"/ /%/ /!/ /"/ /%/ /!/,
>
/R/~~~~~~~~
3 3
3:2 3
/c/ /c/ /c/ /c!/ /!/ /,/
{/,/ /,/
¿/-/ /-/
/./ ///
>
/0/
>. . .
vib:
/1/
{k K
/2/
¿
/3/ /4/ /4/ /4/ /5/ /5/ /5/ /"/ /%/ /!/ /4/ /4/ /4/ /5/ /5/ /5/ /"/ /%/ /!/ /4/ /4/ /4/ /5/ /5/ /5/,>
/B/ /r/~~~~~~~
>
~~~~~~~
3 3
3:2
3
6 ™ 6 ™ ‰ 6 ™ 6 ™ ‰
6 ™6 ™6 6 6™ ™
6 ™ ® ® ® ® ® ® ® ® Œ
6 ™6 ™6 6 6™ ™
6 ™ ® ® ® ® ® ® ® ® Œ
n. mf pp mf f ppp
n fp n fp n fp
ff mp
13
15
nf
19
28 34 28
28 38 216 34
34 24
/k/ /k/ /k/ /k/ /k//k!//k!/ /!/ /!/ /f/
{/f/ /"/
¿/"/
/#!/ /#!/
vib:
/$/
n
>k K k n
/$/
Breath Sound:
/!/ /!/ /!/
vib:
/%/
nk
K
/%/
5:4
3:2
3:2
/&/
/p!/ ,/b!/
/&//t/
> >
/d/ /d/,
/&/
Mouth Shape
/'/
/'/
{trill:> >
/(/ /'/ /(/ /'/ /(/ /'/ /(/ /'/ /(/ /'/ /(/
¿
/)/ /*/ /)/ /*/
3
/p +/ /b ,/ /m ,/ /-/ /-/,/t/ /t!/ /"/ /./ /./
,/n,/ /n,// /d,// /!/ /!/
,/t,0/ /t,0/ /d,0/ /1/ /1/
,/2/ /23/ /23/ /4/ /4/
,/-/ /!/ /./ /1/ /4/
/5/
{
/f/ /"/ /s/ /6/
¿
/B/
/!/Ÿ< >
/t0//r/
/R/
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
/!/
5:4
6 ™ 6 6 6 6 6 ™™™ 6
6 ™
Ù
2
p fppp
22
mfpp
n fp n fp n fp
mp ff
25
27
64 24 64
64 34
34 14
!/!/
>
¿ /"/ ¿ /#/
>
¿ /$/
>
¿
> >3
/u/
{vib:
Kk
n
¿
/%/
Breath Sound:
/&/ /&/ /&/
/o/
vib:
{
K
>k
/'/
¿
/(/
nMouth Shape
/m/
trill:
/)/ /n/ /*/ /+/ /,/ /-/ /m/ /)/ /n/ /*/ /+/ /,/ /-/ /m/ /)/ /n/ /*/ /+/ /,/ /-/ /m/ /)/ /n/
3:2
/p ./ /b // /m // /0/ /0/,
/t/ /t&/ /1/ /2/ /2/,
/n// /n/3/ /d/3/ /!/ /!/,
/t/4/ /t/4/ /d/4/ /5/ /5/,
/6/ /67/ /67/ /8/ /8/,
/0/ /!/ /2/ /5/ /8/
) ™ ™ 6 6 6 6
) 6 6 6 6 6 ™ ) ™
Ù
3
28
31
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~nf
35
14 24 38 24
24 58
34 44
,/!/ /!/ /!/ /"/ /"/ /"/ /#/ /$/ /!/ /!/ /!/ /!/ /"/ /"/ /"/ /#/ /$/ /!/ /!/ /!/ /!/ /"/ /"/ /"/
,
/#/ /$/ /%/ /#/ /$/ /!/ /#/ /$/ /!/ /#/ /$/ /!/ /#/ /$/ /!/ /#/ /$/ /!/ /#/ /$/ /!/ /#/ /$/ /!/,
/$/ /$/ /$/ /$/ /$/ /$/ /$/ /$/ /$/
,
> >
, 24
/#/ /#/ /#/ /#/ /#/ /#/ /#/ /#/ /#/
,
> >
/B/
/&/Ÿ< >
/t'/ /r/ /R/
/&/ !U
24
® ® ® ® ® ® ® ® ™
® ® ® ® ® ® ® ®
j
™
4