Vowels and Singer’s Formant

Is it necessary to be concerned about what vowels a singer must use to produce a Singer’s Formant? The Singer’s Formant has no relation to the effect of vowels on resonance.  This is because the Singer’s Formant is produced in an area of the vocal mechanism that is removed from the critical vowel resonance area. […]

Read more »

Male Voices and the Singer’s Formant

A larger voice will of course be heard as a larger voice if it has Singer’s Formant.  If it doesn’t have Singer’s Formant it would not be easily heard over a full orchestra regardless of how large a voice it is.  Intensity or volume of production has little to do with the ability to be […]

Read more »

Squillo and the Singer’s Formant

Squillo, which is sometimes defined “as that piercing resonance” has nothing to do with the Singer’s Formant.  Singer’s Formant does not give the voice its brightness.  For example, Bjorling’s voice has seldom been classified as being as bright as Corelli’s yet his voice has more Singer’s Formant than does Corelli, and Corelli’s is substantial. The […]

Read more »

Voice Size and the Ability to be Heard

Many like to equate the size of the voice with its ability to be heard over an orchestra.  The assumption is that a large voice will be heard more easily than a smaller voice.  Of course, that depends on what is meant by a “large” voice but, based on the comments I have read, most […]

Read more »

Soprano Formant Change

If the soprano wishes to maintain or increase vocal intensity on an /a/ vowel in the range from about E5 and up, all-the-while keeping a vocal quality that closely matches her quality below these notes, she must gradually open her mouth as she ascends above E5.  Acoustically she is tuning the first formant of her […]

Read more »