Statement of responsibility: Colin Baldy ; with a foreword by Thomas Allen
ISBN: 1903765951, 9781903765951
Intended audience: Specialized.
Includes bibliographical references and index.
xvi, 140 p. : ill. ; 24 cm.
Singing.; Singing Studies and exercises.; Music.
- Foreword; Introduction; Section 1: Developing the Voice; 1. How Easy is Singing? What is singing?
- Text, emotion, body
- Using the text
- The emotional response
- Finding the text within ourselves
- The body: the physical response; 2.A blank canvas: Looking after yourself
- Preparing to Sing
- Give yourself time
- Muscular Memory
- What is a 'varnished' voice and how does it arise?- Can we remove the 'varnish', and should we worry?- Taking care at the start
- First steps
- An open throat
- Gentle stretching of the vocal folds; 3. The concept of support: Supporting from the abdomen rather than the diaphragm
- How tiring does singing need to be?4. Support in practice: Releasing the breath
- Breath release in practice
- Using the back muscles
- Exercising; 5. Placing the voice: Resonance
- Locating resonating cavities
- Facial and head resonance
- Exercise 5.1
- Chest resonance
- Amplifying the sound
- The soft palate
- Avoiding a dropped soft palate
- What does a raised soft palate look like?
- Tongue position and the soft palate
- Tenor/baritone and soprano/mezzo-soprano problems
- What we hear and what we actually sound like
- Checking the position of the soft palate and the tongue
- The bulk of the vocal folds
- Identifying a slightly dropped soft palate
- and a completely raised soft palate
- Creating overtones
- Placing and support
- Brighter sounds and chest resonance
- Breathy tone
- Vocal onset: starting the sound; 6. The Tongue and the Larynx: Problems arising from a habitual dark sound
- Supporting in the throat
- A hard tone
- Good positioning of the tongue
- A released larynx
- Tilting the larynx; 7. The falsetto and its importance to all voice types: The importance of this falsetto, and how it helps; 8. The messa di voce, vocal registers and the passaggio: Vocal registers
- The risks of breaking the voice into sections at an early age
- Moving into adulthood
- Developing the messa di voce: some excercises
- Moving from falsetto to full voice: the physiology
- Applying this in singing
- Upper vocal range: the passaggio
- Marking; 9. Hearing Your Own Voice: Acoustic perception
- Another pair of ears
- The need for patience. Section 2: The process of vocal training: 10. From child to adult: Taking care of young voices; 11. Vocal Pedagogy: Singing in schools
- Children singing opera
- Vocal pedagogy through the ages
- Manuel Garcia
- Frederick Husler
- Jo Estill
- Conclusion; 12. Artistry in Singing: Using the Text: Good diction
- Exercise: thinking about vowels
- Case study
- Understanding the text
- Singing in foreign languages
- The meaning of the words
- Text in opera
- Text in oratorio
- Using text in contemporary music; 13. Repertoire with purpose: Repertoire or exercises?
- Pure vowels and a simple line
- Giuseppe Giordano: 'Caro mio ben'
- Italian vowels
- Learning to sing in French
- Henri Duparc: 'Extase'
- Singing with control
- Faure: 'Claire de lune'
- Releasing tightness in the throat
- Wagner: 'O du mein holder Abendstern' (and preceding recitative)
- Involvement and excitement
- Charles Gounod: 'L'air des bijoux'
- Jules Massenet: 'Va laisser couler mes larmes'
- The passaggio
- Edouard Lalo : 'Vainement, ma bien-aimee'
- Growing the sound
- Donizetti: 'Una furtiva lagrima'
- Handel arias
- Bach arias
- Imagination and choice of repertoire; 14. Performance: avoiding pitfalls: Preparation
- Will I be heard?
- Singing in choirs
- Patter arias
- Releasing the breath
- Dealing with nerves in performance; 15. The Countertenor: a Special Case? The historical background
- The countertenor in the twentieth century
- The vocal production of the countertenor
- Finding countertenors; References.