This article discusses the relationship between the diction and the vocal technique.

The singing tone is not the results of a universal, neutral timbre superimposed by a series of vowels. Instead, the tone, or acoustically the timbre, or physiologically the shape of the articulators, should be adjusted based on the difference of the vowel. The diction does not exist as a separate entity from the tone. The shapes of the resonator (vocal tract) keep matching that of the generator (larynx).

For the singing voice, as for the speaking voice, neither undistorted tone nor recognizable diction can be superimposed on a single predetermined acoustic posture. As spectrum analysis demonstrates, diction need not be inimical to tone, because it is part of the timbre balance.

In addition, as claimed by the Richard, "the clean diction is not produced by exaggerated, heavy consonants, but by quickly occurring consonants (except for consonantal doubling in languages that require it) that do not impede the connected flow of well-defined vowels." This point deserves more notice as we are always required to exaggerate the consonant in order to make it audible to the audience. However, the key point for a clear and clean diction is the flow connection of the vowels. That means the consonant should never disturb the continuous matching adjustment of the larynx and the vocal tract.

As a conclusion, we should keep in mind that vowel is the timbre.