Bulgarian vocal timbre

topic posted Fri, January 5, 2007 - 11:25 AM by  Karen
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I have been reading with intense interest the thread on Bulgarian women's vocal harmonies. I have been studying/singing this music for the past couple of years and it is fantastic. I learned much from your erudite discussion.

Can some of you experts also comment upon the unique vocal timbre of Bulgarian singing? It often sounds "nasal" to Western ears, but it is anything but! From what I have been able to figure out from a few lessons (Tzvetanka Varemezova is awesome!) and working with friends in various groups, the technique is characterized by:

1) chest voice only, no head voice (This is why songs are pitched so low. Also makes a lot more sense to me now that I know that the original folk arrangements are only for 2 voices!)

2) sound is formed in the forward portion of the mouth, obviously because that is where the language itself is mostly produced (well, except for some back-of-the-throat consonants).

The tone produced is pure, strong and vibrant, with no vibrato, which contributes to the harmonic tension in the music. When your voice "locks" with another person using this technique, it is truly magical! It feels almost as if you are singing out of their mouth!

It is very different from vocal technique taught in the West, which emphasises range, dynamics and smooth transtition to head voice. Can any of you experts comment upon this technique? Thanks!
posted by:
Karen
California
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  • Re: Bulgarian vocal timbre

    Fri, January 5, 2007 - 1:01 PM
    i know what you mean about nasal - a lot of people think that the sound comes from your nose, and pinch their voice up so that they sound whiney...but it's not nearly so complicated. I think the reason people feel/hear a nasal sound is that because of where and how you let your voice out , the sound resonates in the front of your face a lot more than in western classical voice (sinuses, nose, upper teeth, lips).

    I agree about no head voice.....except I hear singers do it all the time, and it can sound fine - usually they do it because they have to sing in a key dictated by instruments that can't modulate easily (like a gaida, or kaval or gadulka). you can keep a clean strong sound in a head voice, if you have to - just keep it focused.

    also, i agree most of the time no vibrato...except there are times that it is used as part of phrasing, especially in the ballads/na trapeza songs. You definitely hear it in singers like yanka rupkina (and I don't mean those amazing strandzha ornaments - she uses both vibrato and strandzha ornaments in kalimanku, for example) and verka siderova, from Dobrudzha, (these links don't work for me now on my for shit pc but they might for you -www.bnr.bg/RadioBulgari...siderova.htm) and Nadka Karadzhova from pazardzhik, and they're singers who are pretty dedicated to the older sound.

    Where I don't hear vibrato is in work songs, and in songs from Shop or Pirin. and of course from the old lady recordings I have...... which I think it has to do partly with what gets recorded by whom. here's my theory: Ethnomusicologists go to the old ladies and usually ask them for field and sedenki songs, because those are the ones that are disappearing (largely because their context is disappearing - communal field and hand work). These don't appear to use vibrato as an ornament.....maybe because work songs are songs that everyone sings? shop, pirin, and velingrad are the traditions that use two voices, and i can see why you might not have vibrato there either, given how weird that would be to drone a vibrato....and impossible to match voices.....I bet if we had more recordings of 'na trapeza' songs (at table songs, sung to entertain others, asung by one singers, nd usually by those who are better singers) you might hear women use vibrato, for phrasing and emotive purpose, just as you would any other vocal ornament, who are not professional singers. just a guess. what do you think?
    • Re: Bulgarian vocal timbre

      Fri, January 5, 2007 - 1:09 PM
      regarding vibrato, they do the 'tresene' ornament, though- that's a 'shaking' sort of exaggerated vibrato.
      • Re: Bulgarian vocal timbre

        Fri, January 5, 2007 - 1:20 PM
        yeah - if kremena taught you Makja Jana, there's a weird forced vibrato-like tresene ornament towards the end of the line, where the melody goes up and down between two notes - starts slow, then speeds up - and while that's happening you do a shake on top of the first note - gymnastique. i get kinda cross-eyed when i do it, it takes a lot of concentration.
    • Re: Bulgarian vocal timbre

      Fri, January 5, 2007 - 1:10 PM
      Don't they do some vibrato in some styles of Rhodope songs?
      • Unsu...
         

        Re: Bulgarian vocal timbre

        Sun, January 7, 2007 - 12:49 AM
        A good resource for Rhodope singing is Maria Bebelekova. She gives lessons in her home in San Jose, California. She and her husband Vassil Bebelekov--an excellent gajda player--are both originally from Rodopi. If you're interested, I can give you contact info.
  • Re: Bulgarian vocal timbre

    Fri, January 5, 2007 - 1:07 PM
    I've never studied vocal technique other than with Carol Freeman, one of the Bulgarian music folklorists we mentioned in the other thread, so I lack the standardised language to talk about it in words.

    One thing I've noticed and that I think my teacher Carol Freeman confirmed is that there's a lot more 'air' in Western pop. You can just about hear it as a hissing sort of tone overlaying the notes they're producing. Getting rid of the hissing sound can be accomplished either by relaxing more, or by tightening up- which is how you'll damage your voice! I know that most vocal trainers have 'relaxation' as a goal, and there are usually various techniques for how to accomplish it.

    in many ways, what the village Bulgarians do is often fairly similar to how they talk.

    Carol does all kinds of AWESOME exercises in which she has the class make non-musical sounds - loud yawning sorts of things, sounds like a kid whining for mama, weird stuff that we don't think of as musical but which helps put your voice in the mode for 'singing like you'd talk'
    • Re: Bulgarian vocal timbre

      Fri, January 5, 2007 - 1:23 PM
      that is so true about the air - i find when I sing bulgarian that sometimes I don't run out of air - i run out of oxygen. so much less air moves through your throat, you can sing really long lines - if you breathe deep and use your diaphragm.
      • Re: Bulgarian vocal timbre

        Fri, January 5, 2007 - 2:13 PM
        So true! That is one way that I know that I am doing it "right." Running out of oxygen, not air, that is well put.

        I think breathiness comes from singing from the back of your throat, where the air seems to dissipate into your sinuses. You really don't get that if you are "aiming" out in front of you. It is a really focused tone.

        I never realised how nasal American speech is until I tried to sing EE style. It's so ironic that we consider THEM nasal!
        • Re: Bulgarian vocal timbre

          Fri, January 5, 2007 - 2:21 PM
          I do think the musical tone production has a lot to do with differences in how spoken language or accent uses the voice.

          I have a lot of odd theories- they may not be all that useful other than to actors perhaps- about the differences in vocal tone production and the way voice is used in speaking in different cultures.

          I'm Slavic (Russian/Ukrainian) and we just sing folk music that way that you're describing . I personally also think some of it comes from how we make our vowels during normal speech in Slavic languages, and what our accents predispose us to do with our mouth regardless of what language we're singing in, along with what is considered culturally acceptable for women to do with their voices.

          Slavic women tend to use a much broader range of their vocal range in talking, I think, than American white women do (I'm not sure the same cultural restraints exist for African-American women in the US) -I think that in the US white women are pushed to restrain their speaking voice a lot more, and sound like little girls, than we do in Slavic cultures (or at least the one I"m from), and here in the US we're encouraged to use more of a breathy, higher tone than might be natural. As a contrast, think about black women- you hear a lot more black women in America with low voices or brassy tone to their speaking voice, I think, than in white people, and I'm sure it's just cultural crap that keeps the white women trying to sound like little girls. I hear the same sort of broader range of tones and less 'breathiness' and restraint in Slavic speakers.

          I'd ALWAYS noticed a difference between how I sang, from having learned Ukrainian folk songs from my grandmother, and the much more restrained tone production that's common in Western pop for instance.

          I've got into singing Southern Appalachian traditional music (ballads and some traditional religious singing) before I learned the Balkan stuff, and I noticed similarity between what I sang growing up, in terms of tone production, and how traditional appalachian singers produced sound.(think the stuff in the movie 'Songcatcher'- they did a good job on the actors doing the singing, who were coached by an actual singer from that tradition)

          It always stuck with me that one of the early 1900's collectors who described the Appalachian singing said 'they sang as easily as they talked'- which seems to be the key in many folk traditions- using your voice in a similar way as free, relaxed talking.
          • Re: Bulgarian vocal timbre

            Fri, January 5, 2007 - 2:46 PM
            I totally agree that it all starts with the language.

            I also believe that physicality plays a role. Last year I saw Mystere (lovely) and was struck by the singers' bone structure. There was one delicious female tenor that had the most strikingly beautiful face. I don't have the cheekbones to resonate like that!

            It's true even in America that chest voice is used by folk singers. Listen to country (especially old school singers like Patsy Cline or Kitty Wells), they are not using head voice much, unless their doing some kind of yodeling.

            Is head voice a class thing in the west perhaps? Experts? Maybe it came from grown women (and men) trying to imitate boy sopranos. After the castrati died out, how else would you cover those ranges?
            • Re: Bulgarian vocal timbre

              Fri, January 12, 2007 - 1:01 PM
              i'm not so sold on the physicality, given that even in geographies where you see what appears to be monolithic cultural practices, the genetic mix of people is may reflect a high level of intermarriage/mixing. I'm drawing wildly from the region I know best, Lithuania, where Lithuanians insist on the purity of their distinct linguistic and cultural practices (speaking a distinctly unslavic language, pagan til the 16th century, totally different musical tradition from slavs, etc etc) and thus insist that they are also genetically unique, but then it turns out that everyone has a polish granny or a ukrainian aunty or something like that. I don't think that one needs to have bulgarian bones to have great bulgarian vocal tone, not in small part because i don't think there's such as thing as bulgarian bones, honestly. EE people mixed it up for much too long for such things to really exist, and I think most of the ascriptions of ethnic distinction are outcomes of late 19th century nationalist ideology. This summer I heard a gypsy girl sing pomak songs and she sounded like a pomak, because that's who she learned to sing with.
              i do like the idea of head voice as a castrati substitute.
          • Re: Bulgarian vocal timbre

            Wed, July 25, 2007 - 7:27 AM
            "Slavic women tend to use a much broader range of their vocal range in talking, I think, than American white women do (I'm not sure the same cultural restraints exist for African-American women in the US) -I think that in the US white women are pushed to restrain their speaking voice a lot more, and sound like little girls, than we do in Slavic cultures (or at least the one I"m from), and here in the US we're encouraged to use more of a breathy, higher tone than might be natural. As a contrast, think about black women- you hear a lot more black women in America with low voices or brassy tone to their speaking voice, I think, than in white people, and I'm sure it's just cultural crap that keeps the white women trying to sound like little girls. I hear the same sort of broader range of tones and less 'breathiness' and restraint in Slavic speakers."

            Now that is actually very interesting!
            • Re: Bulgarian vocal timbre

              Sun, July 29, 2007 - 11:53 PM
              Bulgarian vocal timbre varies to a great degree with region and style...
              obvious opposites would be comparing Trakia-Strandzha to Shopluk...
              but every region contains within itself a thousand exceptions... For a number
              of reasons, I do not think that the tone colour is particularly tied to language....
              one of these reasons being, else the whole country would have a similar colorit...
              style further modifies timbre, i.e., the so called urban "Town Style".

              As to speaking voices, Russian and Bulgarian, as well as many other European
              languages (Italian...), would suffer and be harder to comprehend, if delivered
              in the North American monotone voice...

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