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9780195160055
Solutions for Singers: Tools for Performers and Teachers / Edition 1 available in Hardcover, eBook
Solutions for Singers: Tools for Performers and Teachers / Edition 1
by Richard Miller
Richard Miller
- ISBN-10:
- 0195160053
- ISBN-13:
- 9780195160055
- Pub. Date:
- 01/08/2004
- Publisher:
- Oxford University Press
- ISBN-10:
- 0195160053
- ISBN-13:
- 9780195160055
- Pub. Date:
- 01/08/2004
- Publisher:
- Oxford University Press
Solutions for Singers: Tools for Performers and Teachers / Edition 1
by Richard Miller
Richard Miller
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Overview
While many texts and courses on the art of singing offer comprehensive overviews of technique and performance, few have time to delve into the specific questions they spawn. Solutions for Singers explores these unanswered questions, filling in gaps that professional performers, students of singing, and voice teachers have long sought to close.
Fielding over 200 questions, distinguished teacher and performer Richard Miller tackles problems raised during hundreds of his master classes and pedagogy courses. He deliberately avoids abstract generalities, concentrating instead on specific, recurring questions: What are some good exercises to loosen or relax tension in the back of the tongue? Do you apply the same principles regarding breathing to a younger student that you do to older students? What is meant by voiced and unvoiced consonants? Is there a female falsetto? Through such specialized questions, Miller probes the very essence of artistic expression.
The questions are organized under ten broad topics, which Miller considers from various angles. He couples traditional and modern philosophies to present the most relevant and precise solutions. The result is an invaluable handbook for singers, which, read either sequentially or selectively, provides a unique and pragmatic approach to vocal artistry and technique.
Fielding over 200 questions, distinguished teacher and performer Richard Miller tackles problems raised during hundreds of his master classes and pedagogy courses. He deliberately avoids abstract generalities, concentrating instead on specific, recurring questions: What are some good exercises to loosen or relax tension in the back of the tongue? Do you apply the same principles regarding breathing to a younger student that you do to older students? What is meant by voiced and unvoiced consonants? Is there a female falsetto? Through such specialized questions, Miller probes the very essence of artistic expression.
The questions are organized under ten broad topics, which Miller considers from various angles. He couples traditional and modern philosophies to present the most relevant and precise solutions. The result is an invaluable handbook for singers, which, read either sequentially or selectively, provides a unique and pragmatic approach to vocal artistry and technique.
Product Details
ISBN-13: | 9780195160055 |
---|---|
Publisher: | Oxford University Press |
Publication date: | 01/08/2004 |
Edition description: | New Edition |
Pages: | 320 |
Product dimensions: | 9.40(w) x 6.50(h) x 0.82(d) |
Lexile: | 1270L (what's this?) |
About the Author
Richard Miller has had a distinguished international performance opera and recital career, is a celebrated masterclass presenter, vocal researcher, competition adjudicator, and prolific author.
Table of Contents
1 | Breath Management | |
Appoggio versus Belly Breathing (Bauchaussenstutz) | 1 | |
Protruding the Stomach Wall | 4 | |
How Long Should It Take to Acquire the Appoggio? | 5 | |
Routining the Onset, Silent Breathing Exercises, and the Farinelli Maneuver | 5 | |
The Short Onset | 8 | |
Appoggio della Nucca | 8 | |
Explaining the Appoggio to Junior and Senior High School Students | 10 | |
La Lotta Vocale | 11 | |
Rigidity in the Support Mechanism | 12 | |
Resonator/Larynx/Breath | 12 | |
Singing on the Gesture of Inhalation | 13 | |
Atmospheric Pressure and the Singing Voice | 14 | |
The Breath-Management Candle Test | 14 | |
Expelling Air from the Lungs | 16 | |
Leaning on the Breath | 17 | |
Holding the Breath | 17 | |
Natural Breathing | 18 | |
Tanking up for Long Phrases | 21 | |
Pressed Phonation | 21 | |
Increasing Energy but Not Volume | 23 | |
Upper-Dorsal Breathing | 23 | |
Nose Breathing | 25 | |
Air Pressure Levels in High and Low Singing | 26 | |
Correcting High-Breath Emission Levels in Young Female Voices | 26 | |
Singing on the Breath | 27 | |
Breathy Singing in Youthful Female Upper Range | 28 | |
Energy Levels in Tenor and Baritone Voices | 28 | |
Precision in the Release | 31 | |
Sensation Associated with Melismatic Movement (the Bouncing Epigastrium) | 31 | |
Abdominal-Wall Muscle Contact | 34 | |
2 | Posture | |
Always Noble and Axial? | 35 | |
Breaking Stance and Shifting the Body Weight | 36 | |
The Swayback Singer | 37 | |
The Falling Sternum | 39 | |
The Garcia Position | 39 | |
Singing in the Supine Position | 41 | |
Sitting or Standing to Vocalize? | 42 | |
Physical Movement during Singing | 42 | |
Neck Tension | 44 | |
Can the Head Be Held Too Low? | 45 | |
Neck Protrusions during Singing | 45 | |
3 | Laryngeal and Intralaryngeal Function | |
Myoelastic/Aerodynamic Source of Vocal-Fold Vibration | 47 | |
Abduction and Adduction | 48 | |
Heavy and Light Laryngeal Mechanisms | 50 | |
False Vocal Folds | 51 | |
Epiglottic Behavior during Singing | 54 | |
The Trachea as a Resonator | 55 | |
Elevating and Lowering the Larynx | 55 | |
Separating the Thyroid and Cricoid Cartilages? | 58 | |
Flow Phonation | 59 | |
Adding Air to Pressed Phonation | 60 | |
Damping | 61 | |
4 | Resonance Balancing | |
The Vocal Tract | 63 | |
Chiaroscuro | 63 | |
Vowel Definition and the IPA Symbols | 65 | |
Keeping Uniformity of Timbre throughout the Changing Vowel Spectrum | 66 | |
Voce Aperta and Voce Chiusa | 67 | |
The Role of Sensation in Singing | 68 | |
Sympathetic Vibration | 69 | |
Ear-Cupping as an Acoustic Device | 70 | |
Formant Information. Why? | 72 | |
Maintaining the Male 3K (3000 Hz) Factor in Back Vowels | 73 | |
Maintaining the First Formant (the Oscuro Factor) in Female High Range | 74 | |
Falling Back on the Vowel /a/ | 75 | |
Dealing with the Vowel /u/ | 76 | |
Using the Good Vowel /u/ | 77 | |
Using Phonetic /oe/ and /o/ Mixtures as Transition Vowels | 78 | |
Using /ae/ as Pedagogic Assist in Resonance Balancing | 79 | |
L'imposto | 80 | |
Forward Placement | 81 | |
Tenor and Baritone Resonances | 82 | |
Una Bocca Raccolta | 83 | |
Si Canta come Si Parla; Chi Pronuncia Bene Canta Bene | 84 | |
The Idiot Jaw | 84 | |
Three Fingers in the Mouth | 85 | |
Knodel | 87 | |
Pulling Down on the Jaw | 87 | |
Relaxing the Tight Jaw | 88 | |
TMJ and the Singing Voice | 89 | |
Submandibular Muscles | 90 | |
Mouth Shapes in High Piano and Forte | 91 | |
Sfogato Timbre | 91 | |
Using the Zygomatic Muscles | 92 | |
Elevating the Fascia of the Cheek Region | 93 | |
Faucial Arch | 94 | |
Upper-Lip Tension | 95 | |
Directing Attention to the Tongue | 95 | |
Learned, Habitual, or Natural Tongue Positions? | 96 | |
Tongue-Point Trill | 97 | |
Lip Trilling | 98 | |
External-Frame Support and the Trembling Jaw and Tongue | 99 | |
Back Tongue Tension | 102 | |
Retroflex Tongue | 103 | |
Structure of the Nose | 105 | |
Flaring the Nostrils and Wrinkling the Forehead | 106 | |
The Scotch Tape Threat | 108 | |
Making Space in the Throat? | 108 | |
Throat Sensation during Singing | 109 | |
5 | Nasal Continuants and Nonnasal Consonants | |
IPA Symbols for Consonants | 111 | |
Correcting Nasality | 112 | |
Velum Lowering | 112 | |
Nasals Followed by Vowels | 113 | |
Duration of Sung French Nasals | 114 | |
Voiced and Nonvoiced Consonant Pairs | 115 | |
Using Pilot Consonants for Adjusting the Resonator Tract | 115 | |
Anticipatory Consonants | 116 | |
Consonant Doubling | 118 | |
Consonants as Assists in Creating Legato | 118 | |
Ich and Ach | 119 | |
Learning to Flip and to Roll the /r/ Phoneme | 120 | |
6 | The Phenomenon of Vibrato | |
Free-Swinging Vibrancy | 121 | |
Identifying and Steadying Vibrato Rate | 122 | |
Coloratura and Vibrato | 122 | |
Trill | 123 | |
Trillo | 124 | |
Vibrato in the Young Singer | 125 | |
Spectrographic Vibrato Display | 126 | |
Using Straight Tone as a Pedagogic Tool | 126 | |
Is There a Germanic versus an Italianate Vibrato Rate? | 127 | |
7 | Registration | |
Fach Designations in the Young Male Voice | 129 | |
Evaluating Fach Change from Baritone to Tenor | 132 | |
Chest Voice in the Low-Voiced Male | 134 | |
Tension Buildup during Soprano High-Lying Phrases | 135 | |
Narrowing at the Passaggio | 136 | |
Developing Upper Range | 137 | |
Low-Range Loss in the Female Voice after High-Range Singing | 138 | |
How Much Female Chest Is Too Much? | 140 | |
Early Steps for Developing Female Chest Voice | 140 | |
Weak Spots in the Female Scale | 141 | |
Flageolet | 142 | |
The Role of Falsetto in the Tenor Voice | 143 | |
Is There a Female Falsetto? | 147 | |
Voce Finta | 148 | |
Falsetto and Airflow | 149 | |
More on Falsetto | 149 | |
Vocal Glissando (Extended Portamento) | 150 | |
Mezza Voce | 151 | |
Belting | 151 | |
Register Separation | 152 | |
Countertenoring | 153 | |
Strohbass | 156 | |
Vocal Fry | 157 | |
Baryton Martin | 158 | |
Young Tenors and Upper Range | 158 | |
Laryngeal Elevation and Throat Tension at the Tenor Secondo Passaggio | 159 | |
Laryngeal Elevation at the Baritone Primo Passaggio | 160 | |
Early Covering in the Young Male Voice | 160 | |
Vowel Modification at the Male Passaggio | 162 | |
Extending the Low Range in Young Male Voices | 163 | |
Inserted /h/ ("ha") in High-Lying Intervallic Tenor Leaps | 164 | |
Cracking in Male Voices | 165 | |
Intermittent Cracking on the Male High Note | 166 | |
8 | Healthy Singing | |
The Singing Athlete | 169 | |
Increasing the Size of the Voice | 172 | |
Dreadful Speaking Voices | 173 | |
Obesity and the Appoggio | 174 | |
Weight Reduction and the Singing Voice | 175 | |
Water Babies | 176 | |
Flushing of the Face and Neck | 177 | |
Voice Rest? When? How Long? | 178 | |
Marking | 179 | |
Sensation of Phlegm at the Male Secondo Passaggio | 180 | |
Gargling | 180 | |
Nasal Irrigation | 181 | |
Inhaling Steam | 181 | |
Tea, Honey, and Lemon | 182 | |
Vocal Skill and Vocal Longevity | 183 | |
9 | Pedagogy Issues | |
Establishing or Altering a Tonal Concept | 187 | |
Syntax of Voice Technique | 189 | |
National Tonal Preferences | 190 | |
American School/American Sound? | 192 | |
Literature Styles and Voice Technique | 193 | |
The Reluctant Student | 195 | |
What Is the Best Musical Training for a Singer? | 197 | |
Repertoire for Beginners | 199 | |
Musically Unmusical | 199 | |
The Second Half of the Note | 201 | |
Exchange of Studio Information | 201 | |
Pedagogic Justification | 204 | |
Nurturing the Singing Instrument | 206 | |
Teaching as Learning | 208 | |
Teaching Young Voices | 208 | |
Is One Technique Possible for All? | 209 | |
Dissimilar Voice Techniques in Performance | 211 | |
Completing the Technical Work | 212 | |
Uniting Technique and Literature | 213 | |
Female and Male Voice Modeling | 214 | |
Syntactic Doubling in Italian | 215 | |
Soprano and Mezzo-Soprano Instruction | 216 | |
Searching for a New Voice Teacher | 217 | |
Is There a Racial Sound in Classically Trained African American Singers? | 218 | |
How Much Should a Singer Know? | 222 | |
10 | Performance Concerns | |
Learning to Portray Emotion | 225 | |
Internal and External Listening | 227 | |
The Problem of Faulty Intonation | 228 | |
Flatting on Final Descending Notes | 229 | |
Amplification of Opera Performance | 230 | |
Rehearsal Room versus Hall Dynamics | 231 | |
The Relativity of Voice Dynamics | 231 | |
Messa di Voce | 232 | |
Prephonatory Tuning | 233 | |
Oratorio versus Opera | 234 | |
Performance Attire | 235 | |
Performance-Day Diet | 236 | |
Solo Singer in a Choral Setting | 237 | |
Tenor Choral Falsetto | 238 | |
British Treble Choral Tradition | 240 | |
Gesticulation in Singing, and the Kinesthetic Sense | 241 | |
Reasonable Warm-up Time | 243 | |
Flying on Automatic Pilot | 244 | |
The Broadway Sound | 245 | |
Holistic Singing | 247 | |
Glossary of Terms | 249 | |
Appendix I. | Pitch Designations | 257 |
Appendix II. | IPA Symbols for Vowels, Semivowels, and French Nasal Vowel Sounds | 259 |
Appendix III. | IPA Symbols for Consonant Sounds | 261 |
Appendix IV. | Repertoire for Younger or Beginning Singers | 263 |
Select Bibliography | 273 | |
Index | 281 |
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