Developing Bass Sections through Extended Techniques and Auxiliary Registers
"12 Though most texts describe fry as a powerless, creaking register, if it is tuned well and supplemented by other voices, it can be quite effective in producing low notes. Because of its low volume, however, vocal fry is generally only useful when the choir is singing softly, for example, the...
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| Published in: | The Choral journal 2019-09, Vol.60 (2), p.55-64 |
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| Main Author: | |
| Format: | Article |
| Language: | eng |
| Subjects: | |
| Online Access: | Get full text |
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| Summary: | "12 Though most texts describe fry as a powerless, creaking register, if it is tuned well and supplemented by other voices, it can be quite effective in producing low notes. Because of its low volume, however, vocal fry is generally only useful when the choir is singing softly, for example, the final descent to B^1 in the fifth movement of Rachmaninoff's All-Night Vigil. [...]there is less need to cover the low tones of this register with other voices. Romanian director Stefan Voicu advises, "You can use inhale on softer sounds, so if you have a beautiful inhale sound with your low basses you have to make the rest of the choir to sing round and soft, as soft as they can, so the effect is just right. Because this register sits so low, and the singer must switch from exhaling to inhaling, the transition from chest voice is not as easily managed as with true-fold undertones. [...]quite the opposite is true: such studies have found benefits in exploring forms of phonation such as vocal fry, and choral singers have used such techniques throughout their career without damage to their voices. |
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| ISSN: | 0009-5028 2163-2170 |