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Mouth resonance is used for a conversational vocal color in singing and, in combination with nasal resonance, it creates forward placement or mask resonance. Chest resonance adds richer, darker, and deeper tone coloring for a sense of power, warmth, and sensuality.
a resonance area such as chest voice or head voice; a phonatory process; a certain vocal timbre; a region of the voice defined or delimited by vocal breaks; Manuel Garcia II in the late nineteenth century was one of the first to develop a scientific definition of registers, a definition that is still used by pedagogues and vocal teachers today.
In UK bronchophony is often called "vocal resonance" and is similar to "tactile vocal fremitus" (TVF); the difference being that in TVF the sensor is the edge of the hand. All three - whispering pectoriloquy, TVF and vocal resonance - fulfill the same purpose, to distinguish between consolidation and pleural effusion, both of which cause ...
In speech science and phonetics, a formant is the broad spectral maximum that results from an acoustic resonance of the human vocal tract. [1] [2] In acoustics, a formant is usually defined as a broad peak, or local maximum, in the spectrum.
A resonance area such as chest voice or head voice. A phonatory process (phonation is the process of producing vocal sound by the vibration of the vocal folds that is in turn modified by the resonance of the vocal tract) A certain vocal timbre or vocal "color" A region of the voice which is defined or delimited by vocal breaks.
Chest voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles. There is no consistent opinion among vocal music professionals regarding the term. Chest voice can be used in relation to: A particular part of the vocal range or type of vocal register [1] A vocal resonance area; A specific vocal ...
Definition Modal voice: Regular vibrations of the vocal cords Voiceless: ... A resonance area such as chest voice or head voice; A certain vocal timbre;
Appell defined chest voice as resonance below the vocal folds and head voice as resonance above the vocal folds. He recorded examples of male and female singers changing from chest voice to head voice at different pitches in an attempt to prove that the transition pitch is a function of the intensity of the vocal tone and is not absolute.