Solutions for Singers Tools for Performers and Teachers

ISBN-10: 0195160053
ISBN-13: 9780195160055
Edition: 2003
Authors: Richard Miller
List price: $41.95 Buy it from $28.01
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Description: 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  More...

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Book details

List price: $41.95
Copyright year: 2003
Publisher: Oxford University Press, Incorporated
Publication date: 1/8/2004
Binding: Hardcover
Pages: 320
Size: 6.25" wide x 9.25" long x 0.75" tall
Weight: 1.452
Language: English

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.

Breath Management
Appoggio versus Belly Breathing (Bauchaussenstutz)
Protruding the Stomach Wall
How Long Should It Take to Acquire the Appoggio?
Routining the Onset, Silent Breathing Exercises, and the Farinelli Maneuver
The Short Onset
Appoggio della Nucca
Explaining the Appoggio to Junior and Senior High School Students
La Lotta Vocale
Rigidity in the Support Mechanism
Resonator/Larynx/Breath
Singing on the Gesture of Inhalation
Atmospheric Pressure and the Singing Voice
The Breath-Management Candle Test
Expelling Air from the Lungs
Leaning on the Breath
Holding the Breath
Natural Breathing
Tanking up for Long Phrases
Pressed Phonation
Increasing Energy but Not Volume
Upper-Dorsal Breathing
Nose Breathing
Air Pressure Levels in High and Low Singing
Correcting High-Breath Emission Levels in Young Female Voices
Singing on the Breath
Breathy Singing in Youthful Female Upper Range
Energy Levels in Tenor and Baritone Voices
Precision in the Release
Sensation Associated with Melismatic Movement (the Bouncing Epigastrium)
Abdominal-Wall Muscle Contact
Posture
Always Noble and Axial?
Breaking Stance and Shifting the Body Weight
The Swayback Singer
The Falling Sternum
The Garcia Position
Singing in the Supine Position
Sitting or Standing to Vocalize?
Physical Movement during Singing
Neck Tension
Can the Head Be Held Too Low?
Neck Protrusions during Singing
Laryngeal and Intralaryngeal Function
Myoelastic/Aerodynamic Source of Vocal-Fold Vibration
Abduction and Adduction
Heavy and Light Laryngeal Mechanisms
False Vocal Folds
Epiglottic Behavior during Singing
The Trachea as a Resonator
Elevating and Lowering the Larynx
Separating the Thyroid and Cricoid Cartilages?
Flow Phonation
Adding Air to Pressed Phonation
Damping
Resonance Balancing
The Vocal Tract
Chiaroscuro
Vowel Definition and the IPA Symbols
Keeping Uniformity of Timbre throughout the Changing Vowel Spectrum
Voce Aperta and Voce Chiusa
The Role of Sensation in Singing
Sympathetic Vibration
Ear-Cupping as an Acoustic Device
Formant Information. Why?
Maintaining the Male 3K (3000 Hz) Factor in Back Vowels
Maintaining the First Formant (the Oscuro Factor) in Female High Range
Falling Back on the Vowel /a/
Dealing with the Vowel /u/
Using the Good Vowel /u/
Using Phonetic /oe/ and /o/ Mixtures as Transition Vowels
Using /ae/ as Pedagogic Assist in Resonance Balancing
L'imposto
Forward Placement
Tenor and Baritone Resonances
Una Bocca Raccolta
Si Canta come Si Parla; Chi Pronuncia Bene Canta Bene
The Idiot Jaw
Three Fingers in the Mouth
Knodel
Pulling Down on the Jaw
Relaxing the Tight Jaw
TMJ and the Singing Voice
Submandibular Muscles
Mouth Shapes in High Piano and Forte
Sfogato Timbre
Using the Zygomatic Muscles
Elevating the Fascia of the Cheek Region
Faucial Arch
Upper-Lip Tension
Directing Attention to the Tongue
Learned, Habitual, or Natural Tongue Positions?
Tongue-Point Trill
Lip Trilling
External-Frame Support and the Trembling Jaw and Tongue
Back Tongue Tension
Retroflex Tongue
Structure of the Nose
Flaring the Nostrils and Wrinkling the Forehead
The Scotch Tape Threat
Making Space in the Throat?
Throat Sensation during Singing
Nasal Continuants and Nonnasal Consonants
IPA Symbols for Consonants
Correcting Nasality
Velum Lowering
Nasals Followed by Vowels
Duration of Sung French Nasals
Voiced and Nonvoiced Consonant Pairs
Using Pilot Consonants for Adjusting the Resonator Tract
Anticipatory Consonants
Consonant Doubling
Consonants as Assists in Creating Legato
Ich and Ach
Learning to Flip and to Roll the /r/ Phoneme
The Phenomenon of Vibrato
Free-Swinging Vibrancy
Identifying and Steadying Vibrato Rate
Coloratura and Vibrato
Trill
Trillo
Vibrato in the Young Singer
Spectrographic Vibrato Display
Using Straight Tone as a Pedagogic Tool
Is There a Germanic versus an Italianate Vibrato Rate?
Registration
Fach Designations in the Young Male Voice
Evaluating Fach Change from Baritone to Tenor
Chest Voice in the Low-Voiced Male
Tension Buildup during Soprano High-Lying Phrases
Narrowing at the Passaggio
Developing Upper Range
Low-Range Loss in the Female Voice after High-Range Singing
How Much Female Chest Is Too Much?
Early Steps for Developing Female Chest Voice
Weak Spots in the Female Scale
Flageolet
The Role of Falsetto in the Tenor Voice
Is There a Female Falsetto?
Voce Finta
Falsetto and Airflow
More on Falsetto
Vocal Glissando (Extended Portamento)
Mezza Voce
Belting
Register Separation
Countertenoring
Strohbass
Vocal Fry
Baryton Martin
Young Tenors and Upper Range
Laryngeal Elevation and Throat Tension at the Tenor Secondo Passaggio
Laryngeal Elevation at the Baritone Primo Passaggio
Early Covering in the Young Male Voice
Vowel Modification at the Male Passaggio
Extending the Low Range in Young Male Voices
Inserted /h/ ("ha") in High-Lying Intervallic Tenor Leaps
Cracking in Male Voices
Intermittent Cracking on the Male High Note
Healthy Singing
The Singing Athlete
Increasing the Size of the Voice
Dreadful Speaking Voices
Obesity and the Appoggio
Weight Reduction and the Singing Voice
Water Babies
Flushing of the Face and Neck
Voice Rest? When? How Long?
Marking
Sensation of Phlegm at the Male Secondo Passaggio
Gargling
Nasal Irrigation
Inhaling Steam
Tea, Honey, and Lemon
Vocal Skill and Vocal Longevity
Pedagogy Issues
Establishing or Altering a Tonal Concept
Syntax of Voice Technique
National Tonal Preferences
American School/American Sound?
Literature Styles and Voice Technique
The Reluctant Student
What Is the Best Musical Training for a Singer?
Repertoire for Beginners
Musically Unmusical
The Second Half of the Note
Exchange of Studio Information
Pedagogic Justification
Nurturing the Singing Instrument
Teaching as Learning
Teaching Young Voices
Is One Technique Possible for All?
Dissimilar Voice Techniques in Performance
Completing the Technical Work
Uniting Technique and Literature
Female and Male Voice Modeling
Syntactic Doubling in Italian
Soprano and Mezzo-Soprano Instruction
Searching for a New Voice Teacher
Is There a Racial Sound in Classically Trained African American Singers?
How Much Should a Singer Know?
Performance Concerns
Learning to Portray Emotion
Internal and External Listening
The Problem of Faulty Intonation
Flatting on Final Descending Notes
Amplification of Opera Performance
Rehearsal Room versus Hall Dynamics
The Relativity of Voice Dynamics
Messa di Voce
Prephonatory Tuning
Oratorio versus Opera
Performance Attire
Performance-Day Diet
Solo Singer in a Choral Setting
Tenor Choral Falsetto
British Treble Choral Tradition
Gesticulation in Singing, and the Kinesthetic Sense
Reasonable Warm-up Time
Flying on Automatic Pilot
The Broadway Sound
Holistic Singing
Glossary of Terms
Pitch Designations
IPA Symbols for Vowels, Semivowels, and French Nasal Vowel Sounds
IPA Symbols for Consonant Sounds
Repertoire for Younger or Beginning Singers
Select Bibliography
Index

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