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Complete Vocal Technique (CVT) is a singing method developed by Danish singer, vocal coach and vocal researcher Cathrine Sadolin and forms the basis for teaching at school Complete Vocal Institute. Since the 1980s she has been researching all the sounds the human voice is able to produce. She came up with a new terminology and visual representation for her findings, which can be found in the book ''Complete Vocal Technique''. The first edition was published in 2000, and the latest revised edition was published in 2012. The book has been published in English, Dutch, German, Danish, Norwegian, Swedish, Finnish and French. The technique covers all the sounds the human voice can produce. The method is not perceived as complete in the sense that there is always room for improvement. Research is still going on and techniques are updated regularly. In 2005 Cathrine Sadolin started the Complete Vocal Institute in the center of Copenhagen, where singers can enroll in several courses, like the 3-year Singer/Teacher Diploma Course, or the 14-week Complete Vocal Academy. Some basic principles of CVT: * CVT is based on anatomy and physiology instead of myths. Its goal is to use the voice in a healthy and unharmful manner. * CVT can be used in all musical genres. * The applied technique must work at once. If not, the singer is doing something wrong. * Singing is not difficult: anyone can learn how to sing. * Singing should always feel comfortable and never hurt: trust your own sensation. * All sounds can be made in a healthy way. * In teaching: separate taste and technique. The singer makes the artistic choices, not the teacher. This means CVT is one of few singing techniques claiming that sounds which sound hazardous, like grunting or screaming, are perfectly healthy to the voice as long as they are performed correctly. Complete Vocal Technique is divided into four main topics and by combining parts of these topics singers can put together the exact sound they want. This also makes it possible to pinpoint and correct specific problems and errors without having to change the parts the singer is happy with. ==The three Overall Principles== The three overall principles are the three conditions the voice must always abide to in order to sing in a healthy way: * Support (to hold back the breath whilst singing) * Necessary twang (to bring the lower part of the epiglottis and the arytenoid cartilages closer to each other, resulting in a sharper sound) * Avoid protruding the jaw and tension of the lips Support - This means working against the natural urge of the diaphragm to release the air that has been inhaled. This is achieved by resisting its movement. During singing, the waist muscles and solar plexus are pushed outwards whilst the abdomen around the navel is gradually pulled in in a constant and sustained manner and the back muscles are tightened. The muscles in the loin try to pull the pelvis backwards, while the muscles in the abdomen try to pull the pelvis up under the body. This battle created between the abdominal muscles and the muscles in the loin is a valuable and important part of support. However, the support must happen in a sustained and continuous manner as though working against a resistance for as long as a sound is being produced. When the muscle contractions stop being sustained and continuous, for instance if the singer cannot pull the abdomen around the navel inwards any further or push the muscles of the waist or solar plexus outwards any further, then there is usually no more support. It is important to conserve the support energy so the singer does not waste it or use it at the wrong point in time. Do not use support before it is necessary. Save it for when the singing gets difficult, such as on high notes or at the end of a phrase. Support is hard physical work so the singer should be in good physical condition. Necessary Twang - The area above the vocal cords forms a funnel, this is called the ‘epiglottic funnel’. When twanging, the opening of the epiglottic funnel is made smaller by bringing the arytenoid cartilages closer to the lower part of epiglottis (the petiole). As a result the sound gets clearer and non-breathy, and the singer can increase the volume. The singer always needs to use necessary twang in order to have correct technique and achieve easy and unhindered use of the voice regardless of the mode, sound colour and effect used. Necessary twang makes it easier to sing in all ways. For many this necessary twang does not sound twanged at all. Avoid protruding the jaw and tightening the lips as it often produces constriction around the vocal cords. The lower jaw should be pulled backwards relative to the upper jaw. Be sure to open the mouth wider on high and low notes than on notes in the middle part of the voice. Whilst avoiding tightening the lips, it is also important to form vowels with the tongue without altering the shape of the mouth too much. Consonants on the other hand are usually produced by narrowing the vocal tract and by tension in the lips, but as the singer does not stay on them for very long in singing they do not impair singing. It is important to be able to release the tension immediately going from consonants to vowels. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Complete Vocal Technique」の詳細全文を読む スポンサード リンク
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