Pillar Four: Diction and Language

Every time a singer performs a different language, the sounds of that language must be carefully worked into their technique. For instance, one might be able to sing a song in Spanish beautifully, but if one attempted the same song in English translation, even if English were the mother-tongue, the song might fall apart. This demonstrates the importance of the Fourth Pillar of Diction and Language. In this pillar we analyze the sounds of language and how each sound type is ideally produced by the singer to produce the freest, clearest, and most beautiful sound. This cannot be done without integration of the first three pillars.

Language-level of this pillar is study of the sounds of a given language so that it is properly pronounces. Diction-level of the pillar goes beyond language level to ensure that the sounds are ideally produced by the singer for freedom, clarity, and beauty, and how to manage the production of those sounds in each register. The Diction level of study absolutely cannot be done in isolation of vocal technique. It is, rather, central to vocal techniques and integrates with all other aspects of it.

The Speech-Sing Connection

The Fourth pillar may be even more essential in the Transformational Voice Training technique because of the centrality of “The Speech-Sing Connection, which integrates with pillars 1, 2 and 3.” Our technique holds that all singers—regardless of style—should sing in Registers One and Two as if they are speaking. We do not artificially manipulate the sound by depressing of the tongue may create a warm, rich sound in the ear of the singer, it detracts from language clarity and pulls the singer out of the mask and off the track, reducing “ring” and power, creating tension and inhibiting freedom.

Also Central to the Speech-Sing Connection is proper, conscious inhalation in which the throat opens and the larynx descends. Without this step, the Speech-Sing Connection might create a closed-throat, potentially nasal sound. Conscious inhalation creates the natural backspace, or warmth, for the sound that should remain stable and throughout the registers. We do not manipulate or alter the vowel to achieve this backspace, while in the Speech range of registers One and Two. The vowel remains pure and based on natural utterance.
Speech and Singing are concurred as two modalities, or applications, of all the same principles. Singing is merely ultra sustained pitch. The implication for the singer is that it is essential to produce one’s speaking voice correctly, utilizing all technical principles 24 hours a day, 7days a week. If one’s speaking voice is not supported or in the mask, or one speaks with constant hard onsets (glottal attacks) or artificially lowers the voice to sound more masculine, powerful, sexy, etc., then the Speech-Sing connection falls apart. A properly produced speaking voice is essential to our technique.

Language Level

The language level of this pillar is basically the understanding of the phonetic structure of a target language. Each language sing in must be analyzed and its sounds categorized in Vowels, Consonants, and Voiceless Consonants. The singer must be very aware of how each sound is properly produced for clarity of meaning and intelligibility. The language level, therefore, basically addresses the question of “how this language is properly pronounced.”

Diction Level

The Diction Level is the integration of the sounds of the language into proper singing technique. It answers the question of “now that I am pronouncing this language correctly, how do I create each sound beautifully, clearly, and freely.

This aspect of technique is admittedly one of the most controversial among teachers and singers, and, in my opinion, the most subjective. It is related to the subjective opinion of what types of sound people find beautiful. Let’s take a look at some of the approaches so as to clarify the confusion. Also keep at the following in mind. When the vocal track is in a lifted, smiling position, it produces high overtones and bright sounds.

When it is in a lip rounded position, it produces lower overtones and a warm dark sound.

Common Technique #1 is to sing all vowels throughout in a smiley, lifted position, which creates an overall bright sound throughout.

Common Technique #2 is to use lip-rounding throughout, which creates a dark sound throughout.

Common Technique #3 is to do almost nothing—like singing with Novocain. This is certainly relaxed and can create a gorgeous sound with no clarity.

Transformational Voice Technique utilizes Common Technique #4 based on Vowel Conformations. Each vowel’s most natural production technique is honored, so we sing with a combination of bright smiley, neutral/relaxed, and lip-rounded vowels while in registers One and Two. All other techniques compromise the integrity and clarity of the vowel. The vowels “match” by singing them all in the mask (point, focus) and getting the throat open on inhalation and sustaining with the breath (backspace, richness).