# Understanding vocal technique



## annaml (Mar 3, 2014)

This thread is partially for the sake of my understanding and partially to open up a discussion on everyone's interpretations.
Being a violinist who has grown up mainly around the symphony, I have very limited exposure to classical vocal music. However, I understand enough to know that just because something is bel canto, doesn't mean it should be subject to the "opera music" title.
So, technically speaking, what is the difference between bel canto and opera, how do you pick out good vocal technique, and how are trained vocalists of some contemporary music (i.e. Broadway) applying themselves differently than in other musical forms?

Thanks! I'm eager to learn, so feel free to throw in anything else you feel like expanding on.


----------



## BaronScarpia (Apr 2, 2014)

Big question 

Well, as I'm sure you know, bel canto is a style of opera. Its main exponents were Donizetti, Bellini and Rossini, whilst Mercadante and Pacini also made important contributions. In order to sing bel canto opera, there is a certain vocal technique one must learn. This entails having an impeccable legato (probably the most important aspect of bel canto singing), the ability to execute complex and rapid passages of coloratura and fioritura. Vibrato is desirable but must be controlled and not weak. Breath control and phrasing are of paramount importance; one must be able to sing the graceful, flowing melodies of Bellini seamlessly, as well as give shape to Rossini's coloratura phrases.

Those the basic aspects of a bel canto technique. However, I believed that the majority of opera singers are trained in bel canto technique. It does not matter whether you are singing Handel, Mozart, Verdi, Puccini or John Adams; bel canto provides at least the foundations in the techniques of most singers. Singers who go on to specialise in a particular repertoire, e.g. baroque, may then tailor their vocal technique to fit the conventions of the era.

Now, the issue of contemporary music is not one on which I feel qualified to comment. However, I will give it a go!

Marilyn Horne once said that the key to being a successful classical singer is the possession of a good head voice. Singers in musicals, on the other hand, sing mainly in chest voice (I believe!) and are prone to 'belting'. If you are belting correctly and have been taught to do so (e.g. as prescribed by the Estill method), then it is not dangerous and will not damage the voice. I think I am right in saying that most singers in musical theatre do receive extensive training, whereas a lot (but not the majority) of pop and rock singers would admit never to have taken voice lessons. This is when belting can cause serious damage to the vocal folds.

As for picking out good and bad techniques... I'm a young singer and therefore do not extensive knowledge of vocal technique (basically I've just told you everything I know!), but there are a few things that I _can _pick up on. It's easy to learn to sing, but very hard to recognise when someone is singing correctly or incorrectly (aside from obvious things like pitching):

*a dark sound or a sound that appears to be produced far back in the throat would suggest that the singer is lifting their soft palate too much
*a 'belty' sound, i.e. one that sounds as if the singer is shouting, would indicate that the singer is not properly supporting their sound (supporting is commonly and incorrectly known as 'singing from the diaphragm')
*a common bad habit is not singing legato - the famous German soprano Diana Damrau is sadly often guilty of this - it is not difficult to distinguish legato from staccato!


----------



## annaml (Mar 3, 2014)

So sorry I didn't get back to you on this sooner! Thank you, you've done an excellent job elaborating.


----------



## sospiro (Apr 3, 2010)

BaronScarpia said:


> Big question
> 
> Well, as I'm sure you know, bel canto is a style of opera. Its main exponents were Donizetti, Bellini and Rossini, whilst Mercadante and Pacini also made important contributions. In order to sing bel canto opera, there is a certain vocal technique one must learn. This entails having an impeccable legato (probably the most important aspect of bel canto singing), the ability to execute complex and rapid passages of coloratura and fioritura. Vibrato is desirable but must be controlled and not weak. Breath control and phrasing are of paramount importance; one must be able to sing the graceful, flowing melodies of Bellini seamlessly, as well as give shape to Rossini's coloratura phrases.
> 
> ...


I missed this! Fascinating, thank you!


----------

