In this chapter, the author talks about the "covering (遮盖)" which is another important and widely used term in most vocal pedagogies while the word itself is confusing and misleading. I used to confuse the "cover" and the "mask" because a "mask" might always "cover" the face. However, the expression "vowel modification" in English or "元音修正" in Chinese might be the preferable translation of copertura, the italian origin of "covering (遮盖)".

Copertura

Firstly, it should be known that the well-balanced resonance or a chiaroscuro (light-dark) timbre should be "maintained among harmonic partials in all parts of the spectrum regardless of the vowel or the pitch being sung." and copertura is the way to achieve it. "Copertura is best described as the process of conscious equalization of the ascending scale through vowel modification so as to diminish register demarcations, not to exaggerate them." It is a technique of subtle adjustment (aggiustamento) of vocal timbre that produces the equalized scale in mounting pitch." Copertura serves in upper-middle and upper ranges of the singing voice. It gradually processes the voice in the zona di passaggio (passage zone or 换声点) to avoid the sudden registration shifts in upper-middle voice, and additional vowel modification takes place in the upper range (voce di testa). In the modern international school, moderate vowel modification is initiated at the primo passaggio near the termination of the speech range, and additional but gradual modification of the vowel takes place as the scale approaches the secondo passaggio.

Voce chiusa (closed voice) and voce aperta (open voice) are a pair of comparable timbres while the former one is desirable. Voce coperta (covered voice) can only be present with copertura using aggiustamento. The copertura helps maintain the voce chiusa as pitch mounts, especially is important in the zona di passaggio. With copertura, the vowel should still be recognizable and maintains its own integrity while at the same time involves unconscious laryngeal and supraglottic alteration. When a singer processes a series of vowels, he may perceive the resonance changes. For example, many young singers might feel "[a] falls back". "In contrast to such a proprioceptive response, the singer's formant (spectral energy in the area of 2500 Hz to 3200 Hz in the male voice) and strong acoustic energy in the upper spectrum of female voices should always be present in both lateral and rounded vowels. This can happen only if the resonators are in tune with the vibrator. This balanced relationship among the fundamental pitch, the appropriate vowel formants and the acoustic energy in the region of the singer's formant, produces the chiaroscuro timbre of the historic Italianate model. In order, then, to keep the desired acoustic equilibrium as pitch ascends, modification of the vowel must occur."

The supraglottic region alters in ascending pitch and the alteration includes subconscious activity in pharyngeal wall movement, at the base of the tongue as well as in the body of the tongue, in the shape of the pyriform sinuses, and the in epiglottic movement. Epiglottic movement unconsciously occurs in response to tongue action. In general, the epiglottis is more erect in the vowel [i] than in any other and the lowering process of epiglottis, playing a kind of filtering role within the vocal tract, is a certain physiologic basis for traditional pedagogical terms that mean to "cover", though the phenomenon's implication for vocal technique is still unsure.

It should be noticed that different singer have the vowel modified at slightly different pitches. In both female and male instruments, most vowel modification in ascending pitch is in the direction of lateral to rounded vowel. In the process of modifying the vowel, it should be kept in mind that lateral vowels tend to augment high formants and that rounded vowels strengthen low formants.

The difference between heavy cover and cover.

  • "Techniques of 'heavy cover' generally are associated with breath management maneuvers that involve muscular antagonism in the hypogastric region of the abdominal wall," which is characterized by the drastic change of laryngeal position.
  • However, copertura is based on appoggio model (to lean on something) during which, the inspiratory position of the abdominal wall is less quickly altered than is the case in several other "support" techniques, while axial posture remains unaltered.
  • "In the union of the appoggio and the aggiustamento (copertura) maneuvers, radical changes do not occur at register demarcation points either in the anterolateral abdominal wall or in sternal positioning, nor in the resonator tract, as is the case in some other systems. As a result, the larynx remains in a stable position throughout the copertura process, maintaining its relatively low, poised position regardless of register events."

The differences between "Covering" in different areas

Copertura is equated by Deckung in German and couverture in French. So in different areas, copertura means different things: - Traditional Germanic school (as well as its Nordic and Middle European derivatives and the influenced Asian adherents and the American vocal pedagogy): Deckung (cover) demands sudden mechanical registration actions while there has always existed a reaction against "heavy covering". - Current French School: - historic French School: couverture = copertura. - Since World War II: influenced by Deckung. - Great Britain: Great diversity of tonal ideals exist and the two extremes are - "Cathedral tone": "'covering' is not a concern because high levels of breath mixture in the tone have already reduced the upper partials in the singing voice." - British-trained opera and concert singers: similar to the international operatic stage.