Music Preparation
You cannot digest all facets of the music at once. Isolating components is necessary.
Text
Read text/translation to understand the character of the piece.
Rhythm
Using a steady beat / rhythmic breath, read each phrase's rhythms on numbers.
Pitch
Using a steady beat / proper placement / breath support / tone quality, read each phrase's pitches on accurate solfege.
Diction
Dictionary with phonetic pronunciation
IPA vowel chart with audio
IPA vowel chart with audio
- Using correct vowels, speak the text out of tempo.
- With a slow, steady beat chant the text (observe all phrases and breath marks).
- Sing the text monotone.
- Sing the text on pitch.
Musical Effect
- Refine syllabic stress.
- Refine word stress.
- Refine phrase shape.
- Refine dynamic contrast.
Rules of Transfer
There are exceptions to every rule, but try generally applying this rules for a more musical initial performance!
*Adapted from Dr. Judy Bowers "Rules of Singing"
*Adapted from Dr. Judy Bowers "Rules of Singing"
The Rule of the Steady Beat
When singing any note value longer than the steady beat value, singers should crescendo slightly.
This rule applies more often than not, but exceptions may include the taper at the end of a phrase.
Rule of Prep Breath
Inhale…
Where: Low breath, below the rib cage with expansion all-the-way around.
When: In tempo; the beat before you sing.
How: In the shape of the vowel you’re about to sing.
Rule of Placement
Prepare your voice to resonate in the placement of the highest note in the phrase.
Rule of Punctuation
This rule requires a lift or break for every punctuation mark throughout the piece.
The reverse is also true: do not break if no punctuation exists (perhaps the greatest benefit).
Rule of OMCO (Open Mouth Cut-Off)
Whether it’s a vowel or a consonant release, your mouth should be open directly following the release.
Vowels: Reverse the air stream (inhale) to release.
Consonants: Utilize Rule of Consonant Release then open mouth to ensure clarity.
The Rule of Consonant Releases
Be deliberate in the rhythmic placement of a consonant release at the end of a phrase.
In a phrase followed by a rest, place the consonant on the rest.
In a phrase followed by another phrase, place the consonant on the last beat or half beat of the last note. *Full beat or half beat depends on how much time is needed for breath*
The Rule of Diphthongs
Identify diphthongs.
In words with a diphthong, such as “sky,” sing the first sound (ah) throughout most of the value of the note and then quickly add the second sound (ih). For example, “skaaah+ih”.
The Rule of Consonant Release can also be applied to determine where to place the second sound.
The Rule of the Slur
Emphasize the first note of the slur then deemphasize the following note(s).
The Rule of Word Stress
Expressive speaking (inflection) and expressive singing both place emphasis on certain words in a sentence or phrase. Sing louder or with slight emphasis on important words or syllables.
The Rule of Dynamic Diction
In louder dynamics, focus air more on the vowels.
In softer dynamics, focus air more on the consonants.
Rule of Passaggio
In areas of the voice that are prone to breaks (between registers: SA = C5-F5; TB = C4-F4),
experiment with space and vowel modification (open to the next vowel).
The word chain, for example, is pronounced “chayn.” If it has tension, try “chehn.”
When singing any note value longer than the steady beat value, singers should crescendo slightly.
This rule applies more often than not, but exceptions may include the taper at the end of a phrase.
Rule of Prep Breath
Inhale…
Where: Low breath, below the rib cage with expansion all-the-way around.
When: In tempo; the beat before you sing.
How: In the shape of the vowel you’re about to sing.
Rule of Placement
Prepare your voice to resonate in the placement of the highest note in the phrase.
Rule of Punctuation
This rule requires a lift or break for every punctuation mark throughout the piece.
The reverse is also true: do not break if no punctuation exists (perhaps the greatest benefit).
Rule of OMCO (Open Mouth Cut-Off)
Whether it’s a vowel or a consonant release, your mouth should be open directly following the release.
Vowels: Reverse the air stream (inhale) to release.
Consonants: Utilize Rule of Consonant Release then open mouth to ensure clarity.
The Rule of Consonant Releases
Be deliberate in the rhythmic placement of a consonant release at the end of a phrase.
In a phrase followed by a rest, place the consonant on the rest.
In a phrase followed by another phrase, place the consonant on the last beat or half beat of the last note. *Full beat or half beat depends on how much time is needed for breath*
The Rule of Diphthongs
Identify diphthongs.
In words with a diphthong, such as “sky,” sing the first sound (ah) throughout most of the value of the note and then quickly add the second sound (ih). For example, “skaaah+ih”.
The Rule of Consonant Release can also be applied to determine where to place the second sound.
The Rule of the Slur
Emphasize the first note of the slur then deemphasize the following note(s).
The Rule of Word Stress
Expressive speaking (inflection) and expressive singing both place emphasis on certain words in a sentence or phrase. Sing louder or with slight emphasis on important words or syllables.
The Rule of Dynamic Diction
In louder dynamics, focus air more on the vowels.
In softer dynamics, focus air more on the consonants.
Rule of Passaggio
In areas of the voice that are prone to breaks (between registers: SA = C5-F5; TB = C4-F4),
experiment with space and vowel modification (open to the next vowel).
The word chain, for example, is pronounced “chayn.” If it has tension, try “chehn.”
