Basic Countertenor Method

Foreword v Preface and introduction vii Acknowledgements xvi Historical note 1(2) The steady voice 3(3) Some vocal cautions and counsel 6(13) SECTION A The teaching, or otherwise, of vocal registration and how it affects the countertenor 19(3) Historical vocal colour and its implications for the singer today 22(3) SECTION B The method 25(36) The exclusive use of Mode Two, and further development of the through-range 61(16) SECTION C Exercises of greater length 77(10) SECTION D The voice and its further workings 87(11) SECTION E Upper Mode Two and small or pipe register 98(11) Some final thoughts 109(2) Booklist for further practical work and study 111