Vocalise – Voice Science

Definition

A vocalise is a vocal exercise performed on pure vowel sounds without text, designed to develop specific technical skills in isolation from the demands of language. The term derives from French vocaliser (“to vocalize”), entering English around 1851. Crucially, vocalise carries dual meaning: simple scales and patterns constitute basic developmental exercises, while complex composed études—sometimes called “true vocalises”—function as repertoire pieces demanding advanced technique.

Context

Historical Significance

Vocalise represents one of the oldest and most persistent pedagogical tools in Western singing training. The practice of isolating vocal technique through textless exercises predates written documentation, but its systematic codification began in the Italian conservatories of the seventeenth and eighteenth centuries, where training the legendary castrati required methods capable of developing extraordinary vocal capabilities.

The Bel Canto Lineage

Pier Francesco Tosi’s Opinioni de’ cantori antichi e moderni (1723) stands as the first full-length treatise ever published on singing (that we know of), documenting training methods that had evolved over generations. Tosi stressed extended work in Solfège using the Guidonian hexachord system and was the first recorded pedagogue to advocate uniting chest and head registers.

Giambattista Mancini’s Pensieri e riflessioni pratiche sopra il canto figurato (1774) introduced the term “chiaroscuro” for ideal tonal quality and viewed breath conservation as singing’s most important aspect. Manuel García II’s Traité complet de l’art du chant (1840, 1847) bridged empirical tradition with modern science—García invented the laryngoscope in 1854, becoming the first to observe vocal fold function during phonation. Francesco Lamperti (1864) fully entrenched Appoggio in vocal literature, describing it as perfect command over the breath column from lowest to highest notes.

Acoustic Rationale

The pedagogical logic of vowel-only singing centers on phonatory freedom. Vowels carry the greatest energy in the speech signal because the vocal tract is most open during vowel phonation. Removing consonants eliminates hidden habitual glottal attacks present in speech, reveals tendencies toward pressed phonation, promotes legato by preventing over-articulation, and facilitates consistent head voice usage even in lower tessitura. This isolation allows focused attention on tone production without consonantal interruption.

Pedagogical Considerations

Simple Exercises vs. Composed Études

One significant distinction separates basic vocalises from composed vocalise literature. Simple exercises—repeated notes, scales, arpeggios on vowels—constitute developmental work for building foundational technique. Composed études, however, were intended for intermediate and advanced singers who had already developed foundational technique through simpler exercises. As pedagogical sources emphasize, singing vocalise literature is not a substitute for basic developmental vocal exercises.

The Major Collections

Nicola Vaccai’s Metodo pratico di canto italiano per camera (1832) revolutionized training by embedding technique in composed music rather than abstract scales. His fifteen lessons progress from simple intervals through complex ornaments, purposely limited to an octave and a half to emphasize middle voice development. The method saw nearly 100 editions across 13 languages and was used by Maria Callas for daily warmups throughout her career.

Giuseppe Concone’s Fifty Lessons, Op. 9 presents sweeping operatic melodies designed to place and fix the voice accurately while developing taste through broad, elegant melodies. Heinrich Panofka’s 24 Vocalises, Op. 81 systematically addresses specific techniques—scales, agility, portamento, trills, arpeggios. Ferdinand Sieber’s 36 Eight-Measure Vocalises took a unique approach using 8-measure melodies to balance registers.

Genre Considerations

Contemporary Commercial Music training differs fundamentally from classical approaches. Research by Bartlett and Naismith (2020) found that no tradition of vocalises for contemporary singers exists—teachers use transcriptions of solos and gospel spirituals instead. Musical theatre belt training often begins with spoken phrase exercises rather than sustained vowels.

Duration and Dosage

Recent research reveals critical precision requirements for exercise duration. A 2024 Journal of Voice study found optimal durations of 5-7 minutes for men and 3-5 minutes for women—prolonged exercise caused negative effects including increased vocal effort and laryngeal discomfort. This supports Marchesi’s nineteenth-century recommendation of very short practice times for beginners.

Common Misconceptions

Misconception: “Composed vocalises can substitute for basic exercises”

Reality: The composed masterworks of Vaccai, Concone, and Panofka were designed for students who had already developed foundational technique. Using them as basic developmental tools misunderstands their pedagogical purpose—they complement rather than replace simpler exercises.

Misconception: “More vocalise practice produces better results”

Reality: Research demonstrates optimal exercise durations, with excess producing negative effects. The traditional assumption that longer practice equals better results is contradicted by evidence showing diminishing and then adverse returns beyond specific time thresholds.

Misconception: “Semi-occluded exercises are superior to traditional vocalises”

Reality: Systematic reviews (Pozzali et al., 2024) found that while SOVTEs show favorable trends, they demonstrate no statistically significant superiority over other voice therapy methods. Multiple approaches can be effective.

Related Terms

Also known as: Vocalize, Vocal Exercise

See also: Solfège (uses solmization syllables rather than pure vowels), Messa di Voce (specific vocalise technique for dynamic control—crescendo-decrescendo on sustained pitch)

References

Bartlett, Irene, and Marisa Lee Naismith. 2020. “An Investigation of Contemporary Commercial Music (CCM) Voice Pedagogy: A Class of Its Own?” Journal of Singing 76(3): 273-282. https://doi.org/10.53830/JXVC7839.

Pozzali, Ilaria, Nicole Pizzorni, Anna Ruggeri, Antonio Schindler, and Fulvio Dal Farra. 2024. “Effectiveness of Semi-Occluded Vocal Tract Exercises (SOVTEs) in Patients with Dysphonia: A Systematic Review and Meta-Analysis.” Journal of Voice 38(1): 245.e17-245.e35. https://doi.org/10.1016/j.jvoice.2021.06.009.