Solutions for Singers : Tools for Performers and Teachers

Breath Management Appoggio versus Belly Breathing (Bauchaussenstutz) 1(3) Protruding the Stomach Wall 4(1) How Long Should It Take to Acquire the Appoggio? 5(1) Routining the Onset, Silent Breathing Exercises, and the Farinelli Maneuver 5(3) The Short Onset 8(1) Appoggio della Nucca 8(2) Explaining the Appoggio to Junior and Senior High School Students 10(1) La Lotta Vocale 11(1) Rigidity in the Support Mechanism 12(1) Resonator/Larynx/Breath 12(1) Singing on the Gesture of Inhalation 13(1) Atmospheric Pressure and the Singing Voice 14(1) The Breath-Management Candle Test 14(2) Expelling Air from the Lungs 16(1) Leaning on the Breath 17(1) Holding the Breath 17(1) Natural Breathing 18(3) Tanking up for Long Phrases 21(1) Pressed Phonation 21(2) Increasing Energy but Not Volume 23(1) Upper-Dorsal Breathing 23(2) Nose Breathing 25(1) Air Pressure Levels in High and Low Singing 26(1) Correcting High-Breath Emission Levels in Young Female Voices 26(1) Singing on the Breath 27(1) Breathy Singing in Youthful Female Upper Range 28(1) Energy Levels in Tenor and Baritone Voices 28(3) Precision in the Release 31(1) Sensation Associated with Melismatic Movement (the Bouncing Epigastrium) 31(3) Abdominal-Wall Muscle Contact 34(1) Posture Always Noble and Axial? 35(1) Breaking Stance and Shifting the Body Weight 36(1) The Swayback Singer 37(2) The Falling Sternum 39(1) The Garcia Position 39(2) Singing in the Supine Position 41(1) Sitting or Standing to Vocalize? 42(1) Physical Movement during Singing 42(2) Neck Tension 44(1) Can the Head Be Held Too Low? 45(1) Neck Protrusions during Singing 45(2) Laryngeal and Intralaryngeal Function Myoelastic/Aerodynamic Source of Vocal-Fold Vibration 47(1) Abduction and Adduction 48(2) Heavy and Light Laryngeal Mechanisms 50(1) False Vocal Folds 51(3) Epiglottic Behavior during Singing 54(1) The Trachea as a Resonator 55(1) Elevating and Lowering the Larynx 55(3) Separating the Thyroid and Cricoid Cartilages? 58(1) Flow Phonation 59(1) Adding Air to Pressed Phonation 60(1) Damping 61(2) Resonance Balancing The Vocal Tract 63(1) Chiaroscuro 63(2) Vowel Definition and the IPA Symbols 65(1) Keeping Uniformity of Timbre throughout the Changing Vowel Spectrum 66(1) Voce Aperta and Voce Chiusa 67(1) The Role of Sensation in Singing 68(1) Sympathetic Vibration 69(1) Ear-Cupping as an Acoustic Device 70(2) Formant Information. Why? 72(1) Maintaining the Male 3K (3000 Hz) Factor in Back Vowels 73(1) Maintaining the First Formant (the Oscuro Factor) in Female High Range 74(1) Falling Back on the Vowel /a/ 75(1) Dealing with the Vowel /u/ 76(1) Using the Good Vowel /u/ 77(1) Using Phonetic /œ/ and /ø/ Mixtures as Transition Vowels 78(1) Using /æ/ as Pedagogic Assist in Resonance Balancing 79(1) L'imposto 80(1) Forward Placement 81(1) Tenor and Baritone Resonances 82(1) Una Bocca Raccolta 83(1) Si Canta come Si Parla; Chi Pronuncia Bene Canta Bene 84(1) The Idiot Jaw 84(1) Three Fingers in the Mouth 85(2) Knodel 87(1) Pulling Down on the Jaw 87(1) Relaxing the Tight Jaw 88(1) TMJ and the Singing Voice 89(1) Submandibular Muscles 90(1) Mouth Shapes in High Piano and Forte 91(1) Sfogato Timbre 91(1) Using the Zygomatic Muscles 92(1) Elevating the Fascia of the Cheek Region 93(1) Faucial Arch 94(1) Upper-Lip Tension 95(1) Directing Attention to the Tongue 95(1) Learned, Habitual, or Natural Tongue Positions? 96(1) Tongue-Point Trill 97(1) Lip Trilling 98(1) External-Frame Support and the Trembling Jaw and Tongue 99(3) Back Tongue Tension 102(1) Retroflex Tongue 103(2) Structure of the Nose 105(1) Flaring the Nostrils and Wrinkling the Forehead 106(2) The Scotch Tape Threat 108(1) Making Space in the Throat? 108(1) Throat Sensation during Singing 109(2) Nasal Continuants and Nonnasal Consonants IPA Symbols for Consonants 111(1) Correcting Nasality 112(1) Velum Lowering 112(1) Nasals Followed by Vowels 113(1) Duration of Sung French Nasals 114(1) Voiced and Nonvoiced Consonant Pairs 115(1) Using Pilot Consonants for Adjusting the Resonator Tract 115(1) Anticipatory Consonants 116(2) Consonant Doubling 118(1) Consonants as Assists in Creating Legato 118(1) Ich and Ach 119(1) Learning to Flip and to Roll the /r/ Phoneme 120(1) The Phenomenon of Vibrato Free-Swinging Vibrancy 121(1) Identifying and Steadying Vibrato Rate 122(1) Coloratura and Vibrato 122(1) Trill 123(1) Trillo 124(1) Vibrato in the Young Singer 125(1) Spectrographic Vibrato Display 126(1) Using Straight Tone as a Pedagogic Tool 126(1) Is There a Germanic versus an Italianate Vibrato Rate? 127(2) Registration Fach Designations in the Young Male Voice 129(3) Evaluating Fach Change from Baritone to Tenor 132(2) Chest Voice in the Low-Voiced Male 134(1) Tension Buildup during Soprano High-Lying Phrases 135(1) Narrowing at the Passaggio 136(1) Developing Upper Range 137(1) Low-Range Loss in the Female Voice after High-Range Singing 138(2) How Much Female Chest Is Too Much? 140(1) Early Steps for Developing Female Chest Voice 140(1) Weak Spots in the Female Scale 141(1) Flageolet 142(1) The Role of Falsetto in the Tenor Voice 143(4) Is There a Female Falsetto? 147(1) Voce Finta 148(1) Falsetto and Airflow 149(1) More on Falsetto 149(1) Vocal Glissando (Extended Portamento) 150(1) Mezza Voce 151(1) Belting 151(1) Register Separation 152(1) Countertenoring 153(3) Strohbass 156(1) Vocal Fry 157(1) Baryton Martin 158(1) Young Tenors and Upper Range 158(1) Laryngeal Elevation and Throat Tension at the Tenor Secondo Passaggio 159(1) Laryngeal Elevation at the Baritone Primo Passaggio 160(1) Early Covering in the Young Male Voice 160(2) Vowel Modification at the Male Passaggio 162(1) Extending the Low Range in Young Male Voices 163(1) Inserted /h/ (``ha'') in High-Lying Intervallic Tenor Leaps 164(1) Cracking in Male Voices 165(1) Intermittent Cracking on the Male High Note 166(3) Healthy Singing The Singing Athlete 169(3) Increasing the Size of the Voice 172(1) Dreadful Speaking Voices 173(1) Obesity and the Appoggio 174(1) Weight Reduction and the Singing Voice 175(1) Water Babies 176(1) Flushing of the Face and Neck 177(1) Voice Rest? When? How Long? 178(1) Marking 179(1) Sensation of Phlegm at the Male Secondo Passaggio 180(1) Gargling 180(1) Nasal Irrigation 181(1) Inhaling Steam 181(1) Tea, Honey, and Lemon 182(1) Vocal Skill and Vocal Longevity 183(4) Pedagogy Issues Establishing or Altering a Tonal Concept 187(2) Syntax of Voice Technique 189(1) National Tonal Preferences 190(2) American School/American Sound? 192(1) Literature Styles and Voice Technique 193(2) The Reluctant Student 195(2) What Is the Best Musical Training for a Singer? 197(2) Repertoire for Beginners 199(1) Musically Unmusical 199(2) The Second Half of the Note 201(1) Exchange of Studio Information 201(3) Pedagogic Justification 204(2) Nurturing the Singing Instrument 206(2) Teaching as Learning 208(1) Teaching Young Voices 208(1) Is One Technique Possible for All? 209(2) Dissimilar Voice Techniques in Performance 211(1) Completing the Technical Work 212(1) Uniting Technique and Literature 213(1) Female and Male Voice Modeling 214(1) Syntactic Doubling in Italian 215(1) Soprano and Mezzo-Soprano Instruction 216(1) Searching for a New Voice Teacher 217(1) Is There a Racial Sound in Classically Trained African American Singers? 218(4) How Much Should a Singer Know? 222(3) Performance Concerns Learning to Portray Emotion 225(2) Internal and External Listening 227(1) The Problem of Faulty Intonation 228(1) Flatting on Final Descending Notes 229(1) Amplification of Opera Performance 230(1) Rehearsal Room versus Hall Dynamics 231(1) The Relativity of Voice Dynamics 231(1) Messa di Voce 232(1) Prephonatory Tuning 233(1) Oratorio versus Opera 234(1) Performance Attire 235(1) Performance-Day Diet 236(1) Solo Singer in a Choral Setting 237(1) Tenor Choral Falsetto 238(2) British Treble Choral Tradition 240(1) Gesticulation in Singing, and the Kinesthetic Sense 241(2) Reasonable Warm-up Time 243(1) Flying on Automatic Pilot 244(1) The Broadway Sound 245(2) Holistic Singing 247(2) Glossary of Terms 249(8) Appendix I. Pitch Designations 257(2) Appendix II. IPA Symbols for Vowels, Semivowels, and French Nasal Vowel Sounds 259(2) Appendix III. IPA Symbols for Consonant Sounds 261(2) Appendix IV. Repertoire for Younger or Beginning Singers 263(10) Select Bibliography 273(8) Index 281