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