Vocal Terminology 101: The Bel Canto Approach

Many readers have responded via e-mail regarding further illumination on some of the terminology used in my Vocal Master Class articles on Foxes On Idol (previous articles include Vocal Masterclass 101, Vocal Masterclass 201, and Vocal Masterclass 301). I will elaborate and clarify some of the vocal jargon and hope that your eyes don't have that "glazed over " look by the end of the article. I have tried to avoid a plethora of technical jargon so that this article will be easily understood by all.

Bel Canto Technique: Traditional voice training in the 18th-19th century, the "bel canto" ("beautiful singing") method is the definitive classical approach of creating stellar vocal sound through the sustaining element on the pure vowels within each word and/or syllables of each word. It is augmented through the technique of diaphragmatic breathing (explained below). Stated simply, you have to have a sustaining element when you sing, similar to the continuity of sound you would hear when you listen to any instrumentalist. The sound is uniform and connected and the pitch is more absolute when the singers use this approach.

Diaphragmatic Breathing: Many singers perform using shallow breathing patterns - identical to "gasping for air." Trained singers, on the other hand, use primarily diaphragmatic breath support. During the inhalation process, the muscles of the lower back and abdomen are utilized as the diaphragm is lowered. Therefore, when we sing, the breath stream (exhalation process) is employed, the diaphragm ascends (the abdominal muscles contract), allowing for decreased tension in the larynx. It is important that singers develop a very fine balance in utilizing the air stream to create the proper dynamics and quality within their vocal sound. "Pushing the air stream" can result in an undesirable vocal quality.

Imagine a deflated balloon. You inflate by blowing air into the balloon until it is a desired uniform shape. Then, you can either deflate the balloon by allowing the air to escape slowly - therefore managing the air over a longer period of time - or allowing the air to escape quickly - thus reaching the "deflation stage" quickly. Singers utilize the former. In addition, if you inflate the balloon with too much air, the increased pressure will burst the balloon. This theory is applicable to a singer's approach to breathing properly. Too much air or an incorrect balance of air vs.vocal cord vibrations can bring disastrous results.

Apply this concept to any instrumentalist: the beauty of, say, a trumpet sound is the clarity of sound and consistent control achieved by the instrumentalist. When a trumpet sound is too harsh, or "cracks" or suffers from improper pitch, this signals lack of proper diaphragmatic support or a disruption in the balance between the breathing muscles and the purity of the instrumental sound.

Tone Quality: Classical artists strive to develop a "ring" to their vocal sound (acoustic resonance at 2,500 - 3,000 Hz). This allows the voice to project freely over a large orchestra or within a large performance venue. In popular music, because of the use of amplification, this ringing quality, achieved through "bel canto" technique, can be relaxed to a certain extent - but not entirely forgotten. The "ring" adds beauty to the vocal sound and it occurs when the sound is resonating in the vocal masque (see below).

A stellar example of a popular singer that has that signature "ring" is Celine Dion. There is an inherent "bell like" beauty to her sound that does not disrupt her pop style, yet enhances her overall vocal quality.

Vocal Masque: A singer's vocal masque is literally his/her facial features and good singers achieve stellar vocal sound when the sound is resonating fully "in the masque." For instance, behind your eyes, within your nasal passages, etc., you have resonating areas or cavities where the vocal sound - when produced freely through proper diaphragmatic support, correct positioning of hard and soft palates and tongue and relaxed, open throat and mouth/jaw area, open eyes - can resonate. Therefore, a person's facial features, combined with the genetic structure of the vocal cords, give the singer his or her unique vocal sound.

Case in point: It was rumored that early on in her career, singer Barbra Streisand wanted to have her "signature nose" altered through plastic surgery. She changed her mind when her surgeon told her that it would result in a definitive change to her vocal sound - most probably a decrease in the brilliant nasal resonance that has distinguished her voice.

Diphthongs: My personal pet peeve is the use of diphthongs. Avoidance of diphthongs goes hand in hand with the proper bel canto technique. Simply put, diphthongs are syllables within words or vowels that, when enunciated slowly, contain more than one vowel. For example, when you pronounce the word "night" slowly, you should hear " n-ah-eye-ee-t." There are three vowels in that word and singers, when they study, learn that the bel canto technique (sustaining on one pure vowel) produces the most beautiful and effortless sound and pitch. Therefore, it is necessary to sustain as long as possible on the first vowel of the diphthong and complete the rest of the diphthong when you are ready to pronounce another word or syllable. This is why I stated in my Vocal Masterclass 301 article: " Think British, think Elton John or, better yet, Simon Cowell. Adopt their natural affinity for speaking on the pure vowel."

Head Voice vs. Chest Voice: Without becoming too technical here, the simplest way to explain the difference is this: Basically as you sing into your top register (higher pitches), your head voice will become more evident and the sound will resonate more fully in the upper portion of your vocal masque; conversely, for the lower pitches, the chest tone becomes more evident and the sound resonates more fully in the chest and lower part of your vocal masque.

However, in order for singers to achieve a uniform, seamless vocal quality throughout his/her vocal range, a singer learns to maintain a fine balance between both head and chest voice. This requires a great deal of technical devotion - but the results are spectacular. Just the right amount of chest voice in the upper range will add an extra dimension of richness to the sound - without disturbing the bell-like quality of the upper range. Conversely, in the lower register, a certain measure of head voice will add transparency to the darker lower register sounds.

Therefore, in previous Master Class articles when I mentioned "carrying too much chest voice" up to the top range, I meant that the upper range was lacking in sufficient "head tone" quality - the result being a forced vocal sound, missing correct placement in the vocal masque and lacking the essential "ringing quality" that is necessary to establish beautiful vocal sound in the top register.

If you want further evidence of what can be achieved when proper technique is applied to every genre of music, have a listen to my double disc CD, Scenes From A Dream - a live compilation featuring outstanding performances between 1984-2000 with the Timmins Youth Singers and renowned classical, Broadway, and pop artists. Over the past 25 years, many musicians have commented on the ability of the Timmins Youth Singers to cross over from Classical to Pop to Broadway, while adhering to correct "bel canto"vocal production. It really works!

Hope you enjoyed this mini lesson.

Rosanne Simunovic is the Voice Instructor and Conductor for the Timmins Youth Singers. If you have any further questions our comments, please at e-mail her.

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