One of the challenges for singers is:
How do we sing a nice legato line when all the bloody consonants get in the way?
This is particularly an issue when singing high notes, or more specifically, if you have a large interval between notes.
For example, as a soprano singing Un Bel Di from Madama Butterfly, in the last phrase of the aria you have a leap from Dflat to high Bflat, and the words are “l’aspetto”
How do you sing the ‘sp’ of aspetto on the high Bflat?
The answer: you don’t.
How do we sing a nice legato line when all the bloody consonants get in the way?
This is particularly an issue when singing high notes, or more specifically, if you have a large interval between notes.
For example, as a soprano singing Un Bel Di from Madama Butterfly, in the last phrase of the aria you have a leap from Dflat to high Bflat, and the words are “l’aspetto”
How do you sing the ‘sp’ of aspetto on the high Bflat?
The answer: you don’t.
What you do is sing the ‘sp’ as you leave the lower Dflat and travel to the high Bflat.
In other words, you phonate the ‘sp’ early so that when you reach the high Bflat (on the beat) you are only singing the ‘e’ vowel.
In this way you can keep a nice flow of air and not let the interval add tension to your singing;
you can keep the throat open and free.
In other words, you phonate the ‘sp’ early so that when you reach the high Bflat (on the beat) you are only singing the ‘e’ vowel.
In this way you can keep a nice flow of air and not let the interval add tension to your singing;
you can keep the throat open and free.
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