Introduction to Timbre in Voice: a practical guide with focussed exercises to illustrate and encourage a wider colour palette for a singer
- Perceptions for the singer: visual as well as auditory feedback with spectrographic analysis
- Light and shade, Chiaroscuro… an artist plays with pencil or charcoal to practice the control of light and shade- a singer can play with this too in phrasing and vowel colours
- Texture and mark making… an artist experiments with mark making and an embroiderer uses different threads and stitches to create contrast and interest- a singer can use breath management and articulation to make textural differences and consonants also add texture as they do in speech
- Colours are very subjective but just as a painter will play with putting colours together and different pigments so can a singer use imaginative application of colours, cool, warm, pale, strong, vibrant etc.
- Word painting – such an important tool and poetry can help and a singer often has that as a given in a song but there can be so much more to play with, taste, temperature,
- Movement – singing is a bodily experience and physical movement can encourage the release of more colour in a voice, through tension and release, emotional breathing, posture and balance and if linked with word imagery can produce exciting results.
- Tuning – how does pitch affect timbre for good and bad
- Body resonance – using Kristin Linklater’s exercises for actors – the triangle
- Three dimensionality in performance: learning to use the acoustic space
- Conclusions – the audience, the ear of the singer, the kinaesthetic experience