Prioritizing your goals when working with novice or mature Chinese singers in a choral setting

Lynn Swanson working with members of the Zhuhai Classical Children’s Choir,
Zhuhai, China

Understanding the Use of Articulators and Resonators in a Choral Setting specifically for those working with Chinese choirs ~

This presentation and accompanying video is made specifically to help those that are working with novice Chinese choristers learning to sing classical music. It is designed to help Chinese singers whether they are mature or young.

During the time I led choirs in China, I learned that the native Chinese speaker used their articulators differently from the native English speakers. It is critically important to understand what articulators are and how they are used before any singer can begin to expand the vocal range as well as achieve good intonation. Good intonation is especially critical in a choral setting and is often neglected. I found that the primary focus for many Chinese choirs was expression. The first concentration should actually be on securing accurate pitches and exact rhythm. Then attention can be given to expression and how to bring the lyrics to life. 

•It’s important to understand the differences in how to use articulators and resonators when singing different languages.

•Requirements for the use of articulators in the Chinese language is different from that requirement while singing Classical music.

• Before you can make a beautiful sound, you must learn how articulators bring energy to the resonator. •

•You must learn how to use articulators and how to use resonators according to the music you are singing.

The Piano Sound Board The Human Voice Box

Normally, our children rehearse in a room equipped with a digital piano. Because of our combined rehearsals in preparation for the performance at Chinese Conservatory, we re-arranged our rehearsal space. This meant three of our youngest choirs were able to practice with the Kawai grand. Not only was this good for them musically, but it also provided an impromptu opportunity to showcase how a piano makes sound and in comparison to how our voice box makes sound.

Most of our youngsters have never seen the workings of a piano much less what is under the lid of a grand piano. . .

Since the strings of a grand piano run parallel to the floor, it’s easier to imagine how our vocal folds are situated in our neck. Watching the piano hammer strike and observing the release of the damper, our youngest choirs (Byrd and Purcell, ages 8-11) witnessed the vibration that begins and heard the sound that happens. We compared this to the air pressure that causes the vocal folds to abduct and adduct in order to initiate vibration and create sound. We also noted the striking of the hammer as being similar to the collision our vocal folds make when we speak and sing. We talked about the speed of the hammer hitting the strings and compared it to the gentle or glottal onsets of the vocal folds. This also allowed us to contrast the difference between legato and staccato articulation.

They could also see the similarities between their small vocal folds and the piano strings in the treble register. Of course, their folds are not near as long or big in diameter, but they could see the difference in the size of strings at the upper end and the lower end. This helped them understand proportionally a little more about the size of a child’s vocal folds and adult female and male vocal folds.

We compared the sound board to our natural resonators, the throat, the mouth and our nose. We talked about the speed of the hammer hitting the strings and compared it to the gentle or glottal onsets of the vocal folds. This also allowed us to reinforce the difference between legato and staccato. Even though we have used kinesthetic movements to experience these elements of singing, we have now made another connection with the visual aid of the grand piano.

In our Purcell Choir the children are 9 – 11 years old. For most of them, it is their first year to sing in our choir. When asked how many study the piano privately, 14 hands shot up. That’s 60% of our class! Pretty impressive China!

I believe that by the end of our rehearsal, we made a lasting impression by pointing out the workings of the piano in contrast and comparison to our own voice box.

Just look at that shining face in middle of the frame! This is the afternoon Byrd class. . .

Sequential Consonants “TH”

Please see video attached.

One of the most challenging consonants for our Chinese singers is the sequential consonants th. Quite honestly, I have found it to be difficult for many English speakers especially those that sing in English choirs.

Singers often do not put forth the effort to get the tongue between the teeth when making the th sound. Depending on the effort, the tempo and preceding consonants, the th can become a z. As the tip of tongue travels to the front teeth, it can get stuck at the alveolar.

For our Chinese speakers, the d has become the default for the th. There is no sound like the th in the Chinese language. There are however, many words that use the English d. The tongue simply does not pass through the teeth for any sound. As a matter of fact, because of the tones used in this language, the tongue is rarely in a relaxed position. The sounds must be made with an elevated and recessed tongue.

At the Webb-Mitchell Centre for Choral Studies, we have created a small exercise to reinforce the placement of the tongue for th. Singing a non legato unison pitch in the mid-range we sing this-that-and-the-other. It has been an effective exercise to add to the choral training that happens at the beginning of each rehearsal.

Of course, if one is singing the word the one must also consider if the long e or short e is used. Can you imagine the confusion with Chinese speakers? For instance, the word harp technically begins with an h. But, since it is the exception to the rule, the h is silent. Mind you, they don’t necessarily understand every word they are singing, but can pronounce almost any word put before them.

In the video on this post, you will hear the Welsh tune The Ash Grove. This is a great piece for young singers especially those that need practice finding the correct articulators to clearly pronounce th and those needing to understand the long e or short e usage in the.

 The Ash Grove is written in the key of G. The range is D4 to D5. The melodic line is very tonal and pleasing to the voice and ear. The phrases are short enough for young lungs and the only leap is the initial interval of a fourth. It is repetitive in melody and rhythm, although there is a slight variety of both in the second verse. Even though it could easily be sung A cappella, the use of the piano supports the singer vocally and aurally through its pure harmonic structure.

 

The American “R” and the Chinese “R”

I am privileged to be appointed as the Assistant Director of the Zhuhai Classical Children’s Choir in Zhuhai, China. It is a chorus under the Webb-Mitchell Centre for Choral Studies. The children are taught Western world classical music in the British Choral Tradition.

I have had initial rehearsals with all of the children’s ensembles in the short week I have been working with the Zhuhai Classical Children’s Choir.  There is also a beginner women’s chorus and an intermediate women’s chorus. The children are eager to learn and therefore learn very quickly. Chinese families are motivated to give their children every possible educational opportunity available in order to advance themselves. Expectations to succeed in areas that will help them operate on a global level is very high. The work ethic is very strong. Higher education is revered and sought after. They are a very competitive people. In essence, they strive to excel in all that they do.

Regarding observations I have made, in my first rehearsals, on the impact of language and singing Western-world classical music –

Mandarin has few words that end in consonants. Generally, the words are one syllable. Vocal inflection is not part of the phrasing. Consonants used at the ends words include n, ng, or er.

Tones are used to differentiate word units even though the spelling is the same. The first tone is the same pitch throughout the pronunciation. It’s pitch is also high. The second tone starts mid-range and rises. The third tone starts mid-low and falls then rises again. The fourth tone starts high and quickly falls. Occasionally, there are unstressed syllables that possess a neutral tone. The use of these tones can be very nuanced and therefore sometimes difficult to identify especially in the flow of a sentence.

If you know me at all,  I am constantly talk about nuance and the difference this makes in music coming alive or leaving one empty. Anyone can sing the notes, but how they sing the notes breathes life into the phrase.

Every dialect and every language has its difficulties when producing a unified choral sound according to Western-world standards. The r sound creates the most problem for, as we like to say, corrupting the pitch. There are so many colors and variations of the pitch when an r is present. We teach our choirs to default to the ah sound if in the middle of the word or to flip the r replacing it with the letter d.

In Mandarin, the use of the er allows for variation of pitch and what can sound like a glissando or intentional bending of the pitch. The use of the Chinese er can create extreme intonation problems and lingering tones.

The use of the er also creates tension in the jaw and teeth. It can handicap the resonators. To cleanse the young singers of the use of this harsh default (certainly where Western-world classical music is concerned) we have included exercises that encourage the lifting of the soft palate and zygomatic arch muscles. I have added kinosthetic actions that have positively and almost immediately resolved the issue. These don’t require explanation, just modeling.  The children copy perfectly.

These exercises include stretching and yawning. Yes, stretching, yawning and sighing are universal. Using the thumb and index finger to draw the sound up from the cheeks to above the head has also been a good remedy. Explaining that the vowel must be reinforced on successive notes and not produced by using articulators has been a great revelation. Even though these singers may need to be reminded about these issues, they quickly fix them when asked.

Just What Are My Vocal Folds Doing During Warm-Up?

All Voice Experts advocate warm-up exercises. The lack of a proper warm-up may contribute to vocal fatigue and even dysfunction in singers as well as anyone that uses the voice throughout the day. Poorly warmed-up voices are less durable and less sustainable!

What happens to the vocal folds during the warm-up?

Since the vocal folds contain muscle tissues as a major component they depend on efficient blood circulation in order to retain good function and viscosity. Good circulation is stimulated by a well-planned and methodical warm-up. All great athletes rely on efficient and optimal muscle function and therefore warm up their muscles as part of their initial exercise.

Just how does one warm up the voice? Believe it or not, it can be achieved in much the same way one prepares the body for a work out. This warm up includes:
• Full body movements to activate the breath, bring natural movement to the diaphragm and bring circulation to the pharynx and larynx
• Massage the jaw and facial muscles
• Gentle onsets with soft phonation using resonators
• Begin phonation with the head voice, then mixed register voice and finally chest voice
• Distinguish the articulators from the resonators by working: mouth, tongue, jaw, hard palate, etc.
• Integrate consonants with vowels and transition to forming words