ON the following pages is a compendium which i hope will serve several purposes.
First, it takes the place of the usual glossary; Words in common usage are defined with reference to singing. Where two contradictory uses of a word seem to have currency, both are given. Where an expression or a defiintion seems to belong to a particular author or to have originated with him, his name appears in parentheses. Also included are a great many technical terms often used in books on the voice but not alwas defined. Finally, the arrangement of the thesaururs makes it a fairly complete summary of the material in the book.
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Tone-- regular pattern of sound waves
Middle C, C4: Note centrally placed in pitch notation (on the C clef) having a freq. of 261.6 Hz (Hertz--means heart in GErman)
TEssitura : Pitch region in which most of the notes of a given role lies. Also singer's best range.
Dissonant partial: Overtone that isdissonant with the fundamental.
Harmonic plot: All partials are exact multiples of the fundamental frequency.
Tril: rapid alternation between two notes, whole or half step.
Quaver, quiver: Involuntary shake.
"resonance": Term misapplied to vibrato.
Here's what Stefan Kotska and Dorothy Payne have to say:
"p. 69...It is reasonable to assume that the composer thinks of seveal aspects more or less simultaneously -- melody, harony, rhythm, and so forth. A complete analysis naturally takes all these factors into account; However, for the most part THIS text concentrates upon questions relating to harmonic aspects of music. Why?
For various reasons, many theory texts have based their approach to voice leading (or part writing- the way in which CHORDS are produced by the motions of indivudual lines) upon the style of the 4-voce chorale of J. S. Bach. While the bach chorales epitomize the late baroque approach to choral wrting, most muscians today feel the need to study other textures and styles as well;
"p. 193 [speaking of a certain theme] Here is a clue to help you find it, though. it makes its appearance the fourth time the main theme appears inteh movement. The fourth note of the theme is suppressed, and instead, the idea onthe next page takes place . The next "idea" Mozart uses (In the finale of the Jupiter symphony) is not just any old uiedea. It is first heard in the dominant, and has quite a different character than preceding ideas. Now it is in the tonic."
Sympathetic resonance providesan easy demonstration. Hold open the damper for C below the bass clef and the strike C an octave above it sharply several times; The low C string will vibrate in sympathy, at the pitch of the upper string, after the C string has ceased. Now, reverse teh experiment: You'll hear the upper C vibrate at the pitch of the low C... In other words, it is not the low C that set the upper vibration, BUT THE FIRST OVERTONE, which is in tune with the upper C string.
Russel explored the matter of resonance chambers by use of the X-ray. He found that no one particular shape of oral cavity is the sine qua non of a particular vowel or quality. That the function of the laryngeal muscles is really the primary determiner of sound.
