With increasing fundamental pitch, the soprano will lower the jaw accordingly, and the close vowel
/i/ will be perceived as /e/, then /ae/, and in the very high pitches all vowels will sound like /a/ or /A/.
The paper discusses the early i-/y-spellings which may indicate the narrowing of the long mid close vowel
[e: > i:] even before the 15th century, a date generally considered the initial stage of the Great Vowel Shift.
It often involves a greater openness of a close vowel
in very high registers, for the sake of beauty of tone and technical well-being.
However this study of vowel duration is not supporting the claim of Lindblom (1967) that open vowels tend to be longer than close vowels
as the duration of close vowel
lu (266) is more than the open vowel Ia!
long category oppositions in close vowel
/i/ and open vowel /a/ in CV(:)CV carrier words was designed.
To avoid this behavior upon ascending the range, males should stay in fairly close vowel
posture until the vowel being sung turns over--that is, until the second harmonic surpasses the first formant, achieving close timbre--and a bit beyond.
This is a back, short, rounded and close vowel
. The difference between /u/ and /u/ is of height, length and backness.
All close vowel
phonemes have both long and short allophones ([e:]-[e], [i:]-[i], [o:]-[o], etc.), keyed to syllable stress.
The vowels in the speech of the older age group form a quadrilateral which is characteristic to other Finnic languages, whereas in the case of the younger speakers we can observe a tendency typical to this region: the back vowel /a/ has shifted towards the /o/ (raised), which in its turn has resulted in the shift of the mid-high /o/ towards the close vowel
(12) With increasing fundamental pitch, the soprano will lower the jaw accordingly and the close vowel
/i/ will be perceived as /e/, then /a/, and in the very high pitches all vowels will sound like /a/.
A close vowel
can therefore be sung in open timbre, and an open vowel in close timbre, depending upon range relative to the first formant of the vowel being sung.
7) singing a glissando from open timbre low notes on open vowels up on a large interval, such as a octave, to a heady close vowel
and back to the starting pitch: do--do--do [wa--u--a]; [wa--U--a]; [wa--o--a]; (Allow the upper note to flip to an open throated falsetto as soon as needed for ease.