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Show 36 chant. Therefore, the glottal clicks can be initiated without also initiating the vocal folds (audio example 19). The clicks may be combined with regular vocal fold vibrations to create semi-voiced fry and voiced fry, which may contain multiple pitches (audio example 20). Strohbass, a term commonly mistaken for fry, is actually voiced fry in a person's lowest register when the larynx is forced below its normal stabilized position. Vocal fry is only a by-product of this ultra low singing. Fry is possible while singing higher pitches also (audio example 21), it just takes a conscious decision to add it instead of fry resulting from pushing the range lower. Music for strohbass has been written mostly for men, but women are also capable of creating strohbass with their voices, it is simply not as resonant or useful as the male counterpart. Where egressive fry may prove to wear the voice and be difficult to sustain and stabilize pitches, ingressive fry is easy on the voice, easy to sustain, uncomplicated to make resonant, and can extend a singer's low range by an octave or more (audio example 22). Ingressive fry may also move from unvoiced tovoiced (audio example 23). It is possible to create secondary audible melodies with ingressive fry by manipulating the filters of the mouth (audio example 24). Moving the fundamental is possible but may be difficult to keep stable (audio example 25). Fundamental multiphonics are possible, and can be combined with oral filter manipulation to produce some fascinating sounds (audio example 26). Figure 5 contains spectrographs of ingressive fry. The first example in the spectrograph shows audio example 24 with its stationary lower pitch and the rise and fall or another frequency that corresponds to oral cavity resonance and more specifically, the singer's tongue placement. The second example in the spectrograph is of audio example |
