Return to English Top   World  Favorite songs top  Page Top 2016/02/07 22:59:34   In Japanese     New arrivals The National Anthem of Japan  <: "";;mso-hansi-font-family: Century;color:red'>To the Top Forest Page

In this page, various experiments for analysis of human vocal voice, especially male singing voice were performed and displayed the results and findings. These results were analyzed computerized methods in acoustic sciences, and also were biologically/physiologically interpreted, to develop a new vocalizing method to sing all kinds of notes and voice species, and also to provide the method that is able to unite all the voice species, such as bass, bariton, tenor, and even soprano. This is one of my life works, while I am a molecular cell biologist. To develop this method, I am quite lucky to be both vocalist and scientist for the relevant field many years at the same time. There are vast amount data but, I will brief it here:

 In this method, it is important to discriminate the VDR, so called “Vocal Duct Resonance. However, this word is some how ambiguously recognized as a resonance of a space between vocal chord and mouth. In my experiments showed that the resonant compartments will be two types of spaces between:1. Vocal chord and mouth openning; 2. Vocal chord and the highest end of palate. In the former, the resonance is variable while the latter stable (constant). In male voice, the latter compartment plays a central role while in female voice the former. The latter resonant space gives a stable resonance between approximately 2200 to 3200Hz width and 2700 Hz being the center in male singing voice, and also does the tuning point in vocal. This stable resonance also significantly quantize male voice.

 The vocalize method for male voice here features usage of physical resonance (body resonance), and we may be able to span more than 4 octaves in a continuous notes with enough loudness and quality. It sometimes spanning to 7 octaves or more. If you use this method, you will be released from the restrictions of voice species, and might be able to sing virtually all the vocal music acappella without shifting their notes to adapt. Covered ranges in classical voice species, counter bass, bass, baritone, tenor, counter tenor/male soprano, and even whistle boys like birds. Therefore, this will give a good basis of wide-ranging voices for male singers in any language.

 You do not bother much about symbols of notes of scores such as the treble clef, alto clef, or F clef (low bass). You can sing just as written in music scores you want to sing. Since the method also composed of self tuning points to keep notes well, so that even temporary note changes can be done easily.
This way is also quite adaptable for various languages, for instance, Japanese, English, German etc, and you will get quite big freedom to sing! In conventional methods will require to sing in some specific languages such as Italian and German.

  Some of the characteritic features of this novel vocalize method are summarized below.
One of typical example by this method here: bass-tenor solo in Symphony No9 by Beethoven, by the single person and Eearly spring yet winter -Bass/Tenor/Sprano Relay (C-major low-G-major-C-major high, successively) by a single person in Japanese as well.
There are much more in this site, including Germman, English, and Japanese, those which I can understand.

;Fig. 1 Schematic diagram of Vocal Loudness against notes and relations to the physical resonant parameters

BR1: Breast Resonance1
VDR1: Vocal Duct Resonance 1
VDR2: 2xVDR1

Annotation "Vocal Duct Resonance"in red with a horizontal red arrow represents a range of voice furnished with strong vocal duct resonance at VDR1. CT, counter tenor; Ten, tenor; Bar, baritone; Bas, bass; Hyper low (G1-D0), counter bass; Ultralow (Extremely low) below D0 (18Hz), subaudible.

Windows media playerの視覚エフェクト(大火炎)ー音源のリアルタイムサウンドスペクトルの表示国歌君が代歌唱の全体40秒間の平均周波数スペクトルThe Anthem Kimigayo

Fig. 2 Typical 4 octaves starting from counter bass

Fig.2 Typical 4 octaves starting from counter bass(data#0044)MP3ーFig.2 Typical 4 octaves starting from counter bass(data#0044)MP3  HiResーFig.2 Typical 4 octaves starting from counter bass(data#0044)Flac   
 Data#0044(Male hyperlow to male soprano:D1-G5) Fig.1

Fig. 3 Typical 7 octaves stating from male whistle voice and counter bass: 37seconds-long lasting voice with free notes

Fig. 3 Typical 7 octaves stating from male whistle voice and counter bass:MP3ーFig. 3 Typical 7 octaves stating from male whistle voice and counter bass:MP3  HiResーバスとテノール間の段階移動(A2-D5)と胸の共鳴の関係Flac 
Data#0027: Free note shift in wide ranges with self tuning Fig. 3

Fig. 4 Typical 6 octaves between a male soprano and counter bass with free notes

Fig. 4 Typical 6 octaves between a male soprano and counter bass MP3ーFig. 4 Typical 6 octaves between a male soprano and counter bassMP3  HiResーFig. 4 Typical 6 octaves between a male soprano and counter bassFlac 
 Data#0028: Free note shift in wide ranges with self tuning

Fig. 5 Typical 7 octaves stating from counter bass and male soprano with free notes: 37seconds

Fig. 5 Typical 7 octaves stating from counter bass and male soprano: 37secondsMP3ーFig. 5 Typical 7 octaves stating from counter bass and male soprano: 37secondsMP3  HiResーFig. 5 Typical 7 octaves stating from counter bass and male soprano: 37secondsFlac 
 Data#0027: Free note shift in wide ranges with self tuning

Fig. 7 Spectra for Whistle and Soprano voices

Fig. 7 Spectra for Bass to Tonor

Fig. 7 Spectra for Whistle and Soprano voices
data#0038 Fig.2
Fig. 7 Spectra for Bass to Tonordata#0011 Fig.2

Page Top   English Top here       Japanese top     To the Top Forest Page