en:tutorium_singing

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Nächste Überarbeitung 		Vorhergehende Überarbeitung
en:tutorium_singing [2021/09/30 08:12]
andres_romero angelegt 		en:tutorium_singing [2022/03/10 08:42] (aktuell)
martin [Literature for further reading]
Zeile 46: Zeile 46:
  
  
 +   Vowel          F1      F2
 +   U ​u​ 320 Hz 800 Hz
 +   O ​o​ 500 Hz 1000 Hz
 +   å    ​ɑ​ 700 Hz 1150 Hz
 +   A ​a​ 1000 Hz 1400 Hz
 +   ö    ​ø​ 500 Hz 1500 Hz
 +   ü ​y​ 320 Hz 1650 Hz
 +   ä ​ɛ​ 700 Hz 1800 Hz
 +   E ​e​ 500 Hz 2300 Hz
 +   I ​i​ 320 Hz 3200 Hz
  
 +   Please enlarge the lower range of the spectrogram 0 - approx. 4000 Hz. 
 +   Can you recognize the different formant ranges F1 and F2 for (loudly) sung vowels?
 +
 +The third and the fourth formant range F3 (oral cavity, approx. 2-3 kHz) and F4 (approx. 3-5 kHz) are no longer essential for the articulation of the vowels. They rather characterize the individual anatomy of the singer, her articulation peculiarities and her 'timbre'. 
 +
 +There are only rough orientation points for the sound effect of a singing voice depending on particularly emphasized formant or frequency ranges ([[https://en.wikipedia.org/wiki/Formant|source]]):
 +
 +   highlevel at      Song Reception       Formants
 +   200 bis 400 Hz sonorous        1. Formant u
 +   400 bis 600 Hz full         1. Formant o
 +   800 bis 1200 Hz marked  1. Formant a
 +   1200 bis 1800 Hz nasal    2. Formant ü
 +   1800 bis 2600 Hz bright         2. Formant e
 +   2600 bis 4000 Hz brilliant 2. Formant i
 +   8000 Hz         sharp         diffuse Highs
 +   above 10000 Hz sharp         Overtone-"shine" 
 +
 +**Consonants:** Sibilants such as //s// or //sch// are depicted as clouds (noise).
 +   Where are sibilants clearly visible in the spectral representation of the recording?
 +
 +Passages in the **falsetto** (man) or the **head voice** (woman) have relatively few or less pronounced harmonics - compared to the full chest or modal voice. This is due to the fact that only the margins of the vocal fold vibrates in a comparatively sinusoidal motion. 
 +
 +Passages with **rough** and **hoarse voicing** are either recognizable as noise (gray clouds), or other parallel lines are discernible between the parallel harmonics. These //subharmonics// (between the //harmonics//, the harmonic partials) indicate another vibrational element (e.g., the pocket folds above the vocal folds) whose vibrations overlap with the vocal fold vibrations.\\ 
 +A **breathed** vocalization can be recognized by the high proportion of noise (gray clouds). 
 +
 +   Now try to relate your notes on the vocal sound (see above) to the phenomena described. 
 +   Look for the phenomena mentioned in the spectrogram of the Ray Charles recording: 
 +   - certain timbre qualities
 +   - passages in falsetto
 +   - passages with great roughness
 +
 +   Take a closer look at the passage 1:42 - 1:46. 
 +   What can be discerned here?
 +   
 +{{ :come_back_baby_1-42-46.png?400 |}}
 +
 +==== Rhythmic design ====
 +
 +   What is the relationship between the rhythm of the vocals and of the accompanying band?
 +
 +Tip: Choose a slower playback speed and then try to hit along with the basic beat of the band (drums). Pay attention to which beat vertical lines in the spectrogram correspond to . Is the basic beat divided into two (binary), three (ternary) or four (quaternary) beats?\ 
 +Now look where the vocal notes of Ray Charles begin. Do they sound in sync with the band, before or after? If the latter: What is the approximate distance between the vocal and the band in milliseconds? What note value does this correspond to? (For reference, at a tempo of 60 bpm, each beat is exactly 1 second long).
 +
 +==== Tasks ====
 +
 +Now visualize a vocal recording of your own choice and try to describe the special features of the melodic, tonal and rhythmic design using the spectral representation of selected excerpts. When making your selection, make sure that the vocals are not obscured by the accompanying band - or select passages in which the vocals are particularly exposed (e.g. solo passages at the beginning of a recording or during breaks). 
 +
 +Tip: You can also write notes directly into the spectrogram by creating a //text layer// and then saving the entire //session//.
 +Export meaningful sections (//File - Export Image File//) to include in text file or presentation. 
 +
 +==== Literature for further reading ====
 +
 + Heidemann, Kate (2016): „A System for Describing Vocal Timbre in Popular Song“, in it: //Music Theory Online// 22/1, [[https://www.mtosmt.org/issues/mto.16.22.1/mto.16.22.1.heidemann.html|online]]. 
 +
 +{{ :en:tutorial_audio_basics_voice_sample_solution.pdf |}}
  
  
  
  • en/tutorium_singing.1632989558.txt.gz
  • Zuletzt geändert: 2021/09/30 08:12
  • von andres_romero