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Ep. 15「ポップ vs. クラシック」【VLTTW翻訳】

Ep. 15 "Pop vs. Classical" - Voice Lessons To The World
エピソード15 「ポップ vs. クラシック」
Hi everybody. My name is Justin Stoney and I'm the founder of New York Vocal Coaching here in New York City.
Welcome to Episode 15 of Voice Lessons to the World, the show where we want to answer your questions about singing from all over the world.
I'll give you a chance to ask questions later. But our question for the week comes from Bulacan, Philippines and Coach Fatrick Sta. Ana. (He's the founder of "Popstage" and he asked me to give the website, so it's right here. Popstage - it looks like these guys are doing some great things.) 
みなさんが質問する機会についてはあとで説明するとして、今週の質問はフィリピンはブラカンのヴォーカル・コーチ、ファトリック・スタ・アナから来ています。(彼は「ポップステージ」の創設者で、ウェブサイトを載せて欲しいということだったので、こちらに載せます。ポップステージ - 彼らは素晴らしい活動をしているようですね)
But Coach Fatrick asks, "Dear Justin, What is the difference between pop singing and classical singing?"
That's an awesome question Fatrick and I know that lots of you want to do multiple styles and i really encourage that. I really encourage you to not just get locked into one, but give your vocal cords variety. Do a lot of different things.
So today we're going to talk about the differences between pop and classical.
The very first one is simply volume. Classical singing is just louder than pop singing. And now that doesn't mean to be loud. But when you're singing classically you don't use a microphone and when you sing with pop you do use a microphone.
And so you want to know that as, as you're developing your voice, that when you're going to sing with the elements of classical, part of the purpose is to project the voice and be able to sing without a mic and to be able to sing over an orchestra and in a large hall.
With pop singing we purposefully do not want the voice to be so big because the mic's going to be very close. If you sing too big, you're probably not going to have the agility and the dexterity and the lightness that we need.
So classical singers be sure that you're singing as they say, "on the body," with a lot of connection to the body, with a lot of great breath support, a lot of physical energy and a voice that can carry.
クラシックのシンガーは「体で」歌うようにしましょう- 体との繋がりをたくさん持つこと、息の支えをたくさん使うこと、体のエネルギーをたくさん持つことと、声を遠くまで運べることです。
We never want to push, we never want to be loud, but we want to set up mechanics that will cause good healthy projection. We'll talk about one of those in a second.
Pop singers purposefully do not make your voice so loud. If you're singing pop loudly like I say, you're probably going to prevent the growth that we want as far as agility and lightness and dexterity that we need for pop singing. So that's the first difference.
Now one of those mechanical differences with vocal technique, is the larynx. And we've talked about this in the past. But we'll do it again.
Classical singers sing with a lower larynx. Pop singers sing with a higher larynx.
There's gradations of laryngeal coordination that you can do. But I'd like to take a song here that could be in a pop setting or a classical setting, America the Beautiful, and just show you what these larynxes sound like.
So if I have... a little bit of a lower larynx, I have, "Oh beautiful for spacious skies, for amber waves of grain..." And if I lift up my larynx and get a little bit of a lighter place with it, "Oh beautiful for spacious skies, for amber waves of grain..." And I get a little bit more into a pop sound.
少し低い喉頭のポジションで歌うと、(オペラ風に)"Oh beautiful for spacious skies, for amber waves of grain…" となり、喉頭を持ち上げて少し軽い位置にすると、(ポップに)"Oh beautiful for spacious skies, for amber waves of grain..." とポップのサウンドになっていきます。
So part of the thing that allows for more projection is that lower larynx. With a lower deeper sound, I can make a bigger sound, than with the higher, lighter sound that I have with a high larynx.
So part of what causes the projection and the volume difference, is your laryngeal position. Again we want to feel a sense of a little drop in a little openness in the throat for your low larynx, and a little bit of a lighter higher (not squeezed), but higher laryngeal position for pop.
So then the next thing is sortof similar to that. It's the conversationalness of contemporary sounds.
Classical singers do not put on the pedestal as much the "conversationalness" of their sound.So in other words, if i want to have tone quality be my, my number one focus, I might pronounce the words, "Oh beautiful for spacious skies, for amber waves of grain..." And then I get of course, "Oh beautiful for spacious skies, for amber waves of grain..."
クラシックのシンガーは「会話性」をポップほどは大事にしていません。言い換えれば、声のクオリティを一番に優先したい時は、(曖昧に)"Oh beautiful for spaciousskies, for amber waves of grain..." と発音するかもしれません。そうすると当然歌も(オペラ風に)"Oh beautiful for spacious skies,for amber waves of grain..." となります。
But if I speak it very conversationally, "for purplemountains majesty, above the fruited plain." "...for purple mountains majestyabove the fruited plain..."
ですが普通の会話のように話せば(自然にしゃべって)"for purplemountains majesty, above the fruited plain."(ポップに)"…for purple mountains majestyabove the fruited plain..."
It sounds more like me, and it sounds more with the emphasis being on the lyrics and on the communication.
So pop and contemporary we hear the words more clearly often, because the focus is on the conversationalness of the tone, versus the richness and fullness and the depth of the tone that you get in classical.
Now a fourth thing is going to be stylistic elements. Classical singers do at least two very distinct things: lots of vibrato and lots of legato. Legato means smoothness.
So if I have a lot of vibrato and legato, it's this, "America, America, God shedhis grace on Thee..." You can see that I'm being very smooth through there and I also have, "Thee..." That shimmer of vibrato.
ビブラートとレガートをたくさん使うと、(オペラ風に)"America, America, God shedhis grace on Thee..." となります。フレーズを通して滑らかに歌っているのと、"Thee…" のところでビブラートの揺らぎがあるのがわかると思います。
Now a pop singer might not have as muchof that. They might have, "America, America, God shed His grace on Thee..." It might not be - that's straight tone - might not be any vibrato at all, and itmight not be so smooth and legato. I'm being a little bit more choppy there.
ポップのシンガーはクラシックほどビブラートやレガートを使わないかもしれません。"America, America, God shed His grace on Thee..." のように、ビブラートを使わないかもしれないし(これをストレート・トーンと呼びます)、クラシックのような滑らかなレガートも使わないかもしれません。今は少し途切れ途切れに歌ってみました。
Nowagain, both styles can use legato, staccato, vibrato... if they want. But they tend more toward vibrato and legato in classical, and toward choppy, staccato, and straight tone in pop.
Now another thing that I can dois throw in riffs. A pop singer would do that more than a classical singer, although classical singers do have cadenzas, which is sort of a classical riffing.
But if I have this again it's, "America, America, God shed His grace on Thee..." I'm throwing in just a little bit of riffs there to kind of bring it into a popstyle. So riffs are another thing that a pop singer might do that a classicalsinger might not.
もう一度歌ってみると、"(リフ付きで)America, America, God shed His grace on Thee..." となります。ポップのスタイルに持っていくために、少しだけリフを加えてみました。というわけで、リフはポップのシンガーはよくするけれども、クラシックのシンガーはあまりしないことでした。
And then finally breathiness and vocal fry tend to sound very good in pop, but not so much in classical. Breathiness is this sound, and a vocal fry is this sound.
So if i go back into my pop, "America,America, God shed His grace on Thee." I have "ha" and "huh" in my sound, and it brings me into a pop style. Because I'm not loud because I'm not forcing a lot of air or volume,that's not bad for my vocal cords.
ポップに戻って歌ってみましょう。"America, America, God shed His grace on Thee..." この「(息混じりに)ハ、(ヴォーカル・フライで)ハ」というサウンドを加えると、ポップのスタイルに持っていけます。大きな声では歌っていないし、息や声量を押し付けてもいないので、これは声帯に悪くありません。
So again the purity of the classical sound, "America, America, God shed His grace on Thee..." I don't have any of those elements, but I have a lot of other great elements alongside.
もう一度純粋なクラシックのサウンドで歌うと、"America, America, God shed His grace on Thee..." となり、今言ったような要素は一つもありませんが、それ以外の素晴らしい要素を含んでいますね。
So I hope that's some goodclear differences for you guys as you're working to get both a classical soundand a pop sound together.
Again we've got the volume issue, we've got our laryngealcoordination, where are we going to feel the depth or the raise or the neutrality of our larynx, we've got the conversational style of pop vs the focus on tone quality and richness of the musical line in classical.
まとめると、ヴォリュームのこと、喉頭のポジション - 下げたり上げたり自然な位置にすること、それからポップの会話性に対してクラシックの声のふくよかさがありましたね。
And then we got thosestylistic elements that we talked about: vibrato, legato, staccato, vocal riffs,fries, breathiness... there's a lot of stuff that you can play with.
そしてスタイルの要素についても話してきました。ビブラート、レガート、スタッカート、リフ、ヴォーカル・フライ、息混じりの声… 遊べる要素がたくさんあります。
So Fatrick, that was a great question. Once again that website for you for PopStage. Looks like these guys are doing some great stuff out there in the Philippines, so we wish you the best in helping singers. That's totally awesome.
And if you guys have questions for us to answer on the show, you can send an email to: Questions@VoiceLessonsToTheWorld.com
Questions@VoiceLessonsToTheWorld.com にメールしてください。
So we just encourage you to study a lot of different styles of singing, from pop to classical, and as you do don't lose the joy, don't lose the passion, don't let people tell you you can't sing because we know that that's not true.
Get with a great voice teacher like Fatrick out there in the Philippines and PopStage. If you guys are in New York City you can check us out at: www.NewYorkVocalCoaching.com.
「ポップステージ」のファトリックのような、素晴らしい先生に付いてください。もしニューヨークにいるのなら、私達のウェブサイトをチェックしてみてください。 http://www.newyorkvocalcoaching.com/
And if you like these videos you can visit: www.VoiceLessonsToTheWorld.com.
もし動画を気に入ってもらえたら、こちらもチェックしてみてください。 http://www.voicelessonstotheworld.com/
I'm Justin Stoney. We'll see you next time.








※この翻訳は Justin Stoney 氏の許可の下、掲載しています。