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What makes this book unique is its focus on the lower male voice. The text offers exercises and repertoire for vocalization. The unique quality of this book stands in its writing. Miller has shed much of his elaborate writing style to create a book that is direct, easy-to-read, and completely accessible to both performers and teachers of singing. The layout follows his other books in the chapters on onset, breath management, resonance, agility, and messa di voce. He offers an additional chapter entitled, "Pedagogic Uses of the Falsetto" which entails exercises intended to release aggression in the passaggio and above. The musical examples are gleaned from the art song, oratorio, and operatic literatures and provide daily vocalization material for all levels of singers. One feature of this book is that it does not overwhelm the reader with copious amounts of exercises, but provides the basic starting point from which to grow. For example, there are not pages and pages of agility exercises, but just enough coupled with the rep suggestions to make a practical agility session.
Special emphasis on issues in the baritone voice such as covering take prominence, as well as breath management (explained quite beautifully for Miller).
In all, this is a highly recommended volume for singers and their teachers and will happily stand next to "Training Soprano Voices" and "Training Tenor Voices" as an important voice traning guide. Would it be too much to hope for a "Training Mezzo Voices" in the next several years?Securing Baritone, Bass-Baritone, and Bass Voices OverviewPerhaps the most renowned writer in the field of vocal pedagogy, Richard Miller has delivered a new and outstanding contribution to the study of vocal technique in Securing Baritone, Bass-Baritone, and Bass Voices. The first thorough and comprehensive treatment of low male voices, this book draws on techniques and practical advice from Miller's years of professional experience as a performer and pedagogue. With a unique focus on "securing" the technical stability of the male voice, the book offers practical advice to students, their teachers, and professional performers, through numerous practical exercises and repertoire suggestions appropriate to various stages of development. Miller synthesizes historic vocal pedagogy with the latest research on the singing voice, always emphasizing the special nature of the male voice and the proper physiological functioning for vocal proficiency. An indispensable guide to male low voices, this book is an essential text for performers, aspiring performers, and instructors alike.
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