5. Syllables…………………………..……………………………
5.1 Mimicking horn instruments..………………………………..
I found a research by Anna Serierse, in which she looks into the possibility of singing as a side man. She doubles a lot of instruments, among witch wind instruments. For this, she uses the phonetic system.5 (I made a smaller overview in Figure 9) In her research, Anna analyzes the vowels Norma uses when singing together with different instruments.
I asked my friends to play scales so I could analyze them myself on the vowels a voice could make to imitate them. I searched for the corresponding range that I and the wind instrument have, and analyzed this part. You will find this overview in Figure 10. First I will hand the vowels in the phonetic systems, so that we can fall back on this.
Figure 10 Vowels horns
5.2 Blending in a group…………………………………………..
At first I want to state that blending in a group is always a shared responsibility. In regular horn sections, there are certain “rules” and understandings about blending. For instance, try to color to the leading part. Of course, blending is also a matter of hearing and listening to each other, and this is nothing different from having a horn substituted by a voice.
As stated, there are different arranging techniques and voicings we can use when arranging for a horn section including 3 horns. The next statements may be somehow premature, but they are based on my previous experience in my own band. In chapter 6 I will put them to the test, and in chapter 7 I will draw my conclusions.
- 1 lead vs. 2 backings (most common is to have the 1st part be leading, but maybe the 2nd or 3rd could also have a leading role)
- Polyphony
- Unisono
- In octaves
- Lint
- pitched/ non pitched (for example by extended techniques, for instance percussive)
It is important to be aware of the function you have when singing before you decide which vowels suit best.
Lead
When you have the leading role, you can stand out a bit. This means that you might (intentionally or not) choose vowels that do not correspond with the other horns, but it would not directly be an issue, since as the leading part you are allowed to stand out. This can be done in terms of dynamics or in use of vowels. You can analyze what vowels are used in the backings, and go along with that, or you can specifically not do that, and choose your own. This is the case when singing in a lint harmony as well as singing independent lead.
2nd part (backing)
When you are singing the 2nd part, and this is a backing part it is important that you imitate the other backing part. With this, I mean that you should analyze the vowels the other instrument is using, and use them too. All of this should happen with the leading part also in your ear. This is the case when singing in a lint harmony as well as when there is an independent lead.
3rd part (backing)
When you are singing the 3rd part, and this is a backing part it is important that you imitate the other backing part. With this, I mean that you should analyze the vowels the other instrument is using, and use them too. All of this should be happening with the leading part also in your hearing.This is the case when singing in a lint harmony as well as when there is an independent lead.
Polyphony
Although polyphony comes with a certain form of individuality in each part, of course blending is still a thing. This means that you can be less strict when it comes to choosing your vowels, but still when opting for a homogeneous sound, you can blend by choosing to imitate the vowels of the part that is closest to you, or has the same role at specific points.
Unisono
When sining unisono, the most homogeneous blending comes with directly imitating the vowels of the horn you are doubling.
In octaves
Singing in octaves gives the lower part a certain air of being a “shadowing part”. Imitating the vowels of the horn is an option and will provide the most homogeneous sound. But choosing not to directly imitate will give this air of being a “shadowing part”.