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Coup de glotte
Coup de glotte or 'shock of the glottis' is a term used in the theory of singing technique to describe a particular method of emitting or opening a note by an abrupt physical mechanism of the glottis (the space between the vocal folds). It was a term coined by the Spanish baritone and pedagogue, Manuel García II. It was first mentioned in his book, Traité complet de l'art du chant. During the 19th century there was disagreement among teachers and performers as to whether the technique should be taught as a normal part of vocal method or not. The technique is still sometimes used to achieve particular effects, dramatic or ornamental, but is usually avoided in the teaching of fundamental vocal method. In English, it is often called a glottal attack.
Vocal sound is produced by a column of air passing from the lungs through the larynx while the vocal cords or ligaments are drawn together, leaving narrow spaces through which the air passes in short, rapid pulsations or vibrations. The discipline of training aims to remove all rigidity and strain in the throat while governing the maximum economy of the ratio of breath to tone produced, so that a relaxed and pure tone may float freely on the breath, supported by the trained and elastic pressure of the diaphragm upon the lungs.[citation needed]
When singing a note, it is desirable that the release of breath and the attack of the tone should occur simultaneously and without artifice. When beginning on a vowel, with no added consonant to mask the start of the note, one can hear if there is any undesirable emission of breath or aspirate (Ha) before the production of tone. If the voice is correctly produced the union of tone and breath should be spontaneous, but if it is not, this fault will apply to every note produced even when the effect is masked by a consonant, and will form a basic (and vocally destructive) flaw in the vocal method.[citation needed]
The coup de glotte was taught by the renowned Spanish baritone and pedagogue Manuel García as the means of achieving this in normal singing method. García had invented and implemented the laryngoscope, and sought to present scientific explanations for certain functions. He expressed it as follows:
The pupil... should draw in breath slowly, and then produce the sounds by a neat, resolute articulation of the glottis, upon the broad Italian vowel A. If this movement be properly executed, the sound will come out bright and round. Care however must be taken to pitch the sound at once on the note itself, and not to slur up to it, or feel for it. The pupil must also be warned against confounding the articulation or stroke of the glottis with the stroke of the chest, which latter resembles the act of coughing, or the effort made in expelling some obstruction from the throat... The glottis is prepared for articulation by closing it, which causes a momentary accumulation of air below; and it is then opened by a sudden and vigorous stroke, similar to the action of the lips when strongly emphasising the letter P. Some masters recommend the use of [consonants, e.g. Pa, La] in order to acquire precision in striking notes; but in our opinion this plan... has the disadvantage of merely disguising the faulty articulation of the glottis, without possessing any power whatever of correcting it.
In later years during the early twentieth century, discussion continued of the coup de glotte and many believed it could find its place among a singers varied technical repertoire. Teachers and performers such as Reynaldo Hahn believed technical devices, such as the coup de glotte and the portamento, even the manner of breathing, serve only one principle – to achieve an expressive and colorful representation of the music. Though the popularity and use of this technique slowly declined, it still has its place in providing technical and musical expression in passages of music.
Much of García's 'method' remains extremely important as a plan for the correct development and production of the voice. But in this respect his 'scientific' approach misfired, and resulted in many students and singers attempting to reproduce the effect described by conscious muscular movement in the throat. This often had injurious results. An essential basis of expressive singing is that the breath and tone should be united without any conscious adjustment of the vocal mechanism, through teaching-methods which direct the singer's attention away from the muscular apparatus by which the sound is produced.[citation needed]
The technique (of 'some masters') referred to by García of vocal exercising rapidly repeating plosive syllables such as 'Pa', transfers the momentary restraint of breath from the larynx or glottis to the lips, so that the natural diaphragmatic attack, without glottal manipulation, is learned. The use of soft vocalised syllables such as 'Ma' or 'Na', in rapid succession on single notes or in vocalises, assist in directing the tone to its 'forward' focus of resonance as the tone remains continuously engaged while the lips of the mouth are intermittently closed and opened and the nasal passages remain unobstructed.[citation needed]
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Coup de glotte
Coup de glotte or 'shock of the glottis' is a term used in the theory of singing technique to describe a particular method of emitting or opening a note by an abrupt physical mechanism of the glottis (the space between the vocal folds). It was a term coined by the Spanish baritone and pedagogue, Manuel García II. It was first mentioned in his book, Traité complet de l'art du chant. During the 19th century there was disagreement among teachers and performers as to whether the technique should be taught as a normal part of vocal method or not. The technique is still sometimes used to achieve particular effects, dramatic or ornamental, but is usually avoided in the teaching of fundamental vocal method. In English, it is often called a glottal attack.
Vocal sound is produced by a column of air passing from the lungs through the larynx while the vocal cords or ligaments are drawn together, leaving narrow spaces through which the air passes in short, rapid pulsations or vibrations. The discipline of training aims to remove all rigidity and strain in the throat while governing the maximum economy of the ratio of breath to tone produced, so that a relaxed and pure tone may float freely on the breath, supported by the trained and elastic pressure of the diaphragm upon the lungs.[citation needed]
When singing a note, it is desirable that the release of breath and the attack of the tone should occur simultaneously and without artifice. When beginning on a vowel, with no added consonant to mask the start of the note, one can hear if there is any undesirable emission of breath or aspirate (Ha) before the production of tone. If the voice is correctly produced the union of tone and breath should be spontaneous, but if it is not, this fault will apply to every note produced even when the effect is masked by a consonant, and will form a basic (and vocally destructive) flaw in the vocal method.[citation needed]
The coup de glotte was taught by the renowned Spanish baritone and pedagogue Manuel García as the means of achieving this in normal singing method. García had invented and implemented the laryngoscope, and sought to present scientific explanations for certain functions. He expressed it as follows:
The pupil... should draw in breath slowly, and then produce the sounds by a neat, resolute articulation of the glottis, upon the broad Italian vowel A. If this movement be properly executed, the sound will come out bright and round. Care however must be taken to pitch the sound at once on the note itself, and not to slur up to it, or feel for it. The pupil must also be warned against confounding the articulation or stroke of the glottis with the stroke of the chest, which latter resembles the act of coughing, or the effort made in expelling some obstruction from the throat... The glottis is prepared for articulation by closing it, which causes a momentary accumulation of air below; and it is then opened by a sudden and vigorous stroke, similar to the action of the lips when strongly emphasising the letter P. Some masters recommend the use of [consonants, e.g. Pa, La] in order to acquire precision in striking notes; but in our opinion this plan... has the disadvantage of merely disguising the faulty articulation of the glottis, without possessing any power whatever of correcting it.
In later years during the early twentieth century, discussion continued of the coup de glotte and many believed it could find its place among a singers varied technical repertoire. Teachers and performers such as Reynaldo Hahn believed technical devices, such as the coup de glotte and the portamento, even the manner of breathing, serve only one principle – to achieve an expressive and colorful representation of the music. Though the popularity and use of this technique slowly declined, it still has its place in providing technical and musical expression in passages of music.
Much of García's 'method' remains extremely important as a plan for the correct development and production of the voice. But in this respect his 'scientific' approach misfired, and resulted in many students and singers attempting to reproduce the effect described by conscious muscular movement in the throat. This often had injurious results. An essential basis of expressive singing is that the breath and tone should be united without any conscious adjustment of the vocal mechanism, through teaching-methods which direct the singer's attention away from the muscular apparatus by which the sound is produced.[citation needed]
The technique (of 'some masters') referred to by García of vocal exercising rapidly repeating plosive syllables such as 'Pa', transfers the momentary restraint of breath from the larynx or glottis to the lips, so that the natural diaphragmatic attack, without glottal manipulation, is learned. The use of soft vocalised syllables such as 'Ma' or 'Na', in rapid succession on single notes or in vocalises, assist in directing the tone to its 'forward' focus of resonance as the tone remains continuously engaged while the lips of the mouth are intermittently closed and opened and the nasal passages remain unobstructed.[citation needed]