Training Soprano Voices Review

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Training Soprano Voices ReviewI am a master's student currently preparing for an operatic stage career. If you are seriously persuing a pedagody degree and hope to teach or if you a soprano persuing a performance career, this book is an essential for your library. However, I don't recommend this book to novice singers -- the voice is a fragile instrument and a beginner can't tell what s/he sounds like (if the voice is tight, pushed, or out of tune, you won't know). It's best to begin study under a good teacher than with a book.Training Soprano Voices OverviewTraining Soprano Voices provides a complete and reliable system for training each type of soprano voice. Designed as a practical program for singers, teachers, and voice professionals, it couples historic vocal pedagogy with the latest research on the singing voice, emphasizing the special nature of the soprano voice and the proper physiological functioning for vocal proficiency. Renowned singing teacher Richard Miller supplies a detailed description for each of the nine categories of soprano voices. For each category he then surveys the appropriate literature and provides an effective system for voice building, including techniques for breath management, vibratory response, resonance balancing, language articulation, vocal agility, sostenuto, proper vocal registration, and dynamic control. The book concludes with a daily regimen of vocal development for healthy singing and artistic performance. It also features dozens of technical exercises, vocalization material taken from the performance literature, and numerous anatomical illustrations. Unique in its focus on a single voice, Training Soprano Voices is likely to set the standard in voice training for years to come.

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Securing Baritone, Bass-Baritone, and Bass Voices Review

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Securing Baritone, Bass-Baritone, and Bass Voices ReviewRichard Miller has added yet another tome to his expanding library on the classically trained singing voice with "Securing Baritone, Bass-Baritone, and Bass Voices". This edition will have pride of prominence next to his other books on the singing instrument.
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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Solutions for Singers: Tools for Performers and Teachers Review

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Solutions for Singers: Tools for Performers and Teachers ReviewThis book is not really a manual for voice teaching but a book of oft-asked questions and answers written by Richard Miller, noted voice teacher and author. Miller has written several books on singing and voice teaching, and all of them have been generally well received. This book is no exception.
The questions are grouped in sections of subjects beginning with breath management. Following chapters address posture, laryngeal functions, resonance, nasals and consonants, vibrato, registration, healthy singing, pedagogy issues, and performance concerns. As one can see, this layout of the book ensures that while Miller does skip from question to question, the book does flow similarly to great treatises on singing and voice instruction.
If one has never read a book by Richard Miller, one should know that his books can be technical and perhaps even...er, boring. Miller has certainly taken great care that each question be answered thoroughly and accurately (not with a simple yes or no). This is not the best book for a novice trying to learn about the voice. Try books by Oren Brown or Clifton Ware first, or be prepared to look it up if you don't know exactly where the zygomatic muscles are or how the thyroid cartilage works.
That being said, this book covers so many of the questions that people have about singing, even the questions that most voice teachers do not know. Miller also includes a wonderful repertoire list for younger or beginning singers in the back, and his select bibliography is also as rigorous as I've seen anywhere else. You may have to reread some answers, but it is clear that you are getting a well-researched answer.
I strongly recommend this book to any voice teacher. As long as they are prepared for technical answers, I think they will find it to be an invaluable resource.
Solutions for Singers: Tools for Performers and Teachers OverviewWhile 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.

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A Handbook of Diction for Singers: Italian, German, French Review

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A Handbook of Diction for Singers: Italian, German, French ReviewProfessor David Adams skillfully offers keen insight into the basics of Italian, German, and French diction. In addition to covering the most general rules, he goes on to explain common exceptions and more elusive nuances of each language within the context of a singer's perspective. Some familiarity with the International Phonetic Alphabet is helpful but not necessary.
This book will prove a tremendous asset for any singer whose goal is more than simply singing correct notes. It will assist in adding that element of expression only possible with the clarity of the text as it was intended by the composer.A Handbook of Diction for Singers: Italian, German, French OverviewNow in its second edition, A Handbook of Diction for Singers is a complete guide to achieving professional levels of diction in Italian, German, and French, the three major languages of the classical vocal repertory. Written for English-speaking singers and offering thorough, consistent explanations, it is an ideal tool for students and an invaluable reference for voice teachers, vocal coaches, and conductors. The book combines traditional approaches proven successful in the teaching of diction with important new material not readily available elsewhere, presenting the sounds of each language in logical order, along with essential information on matters such as diacritical marks, syllabification, word stress, and effective use of the variety of foreign-language dictionaries. Presented in an attractively concise format, the book goes into greater detail than comparable texts, providing specific information to clarify concepts typically difficult for English-speaking singers. Particular emphasis is placed on the characteristics of vowel length, the sequencing of sounds between words, as well as the differences between spoken and sung sounds in all three languages.Featuring significantly expanded coverage of each of the three languages and illustrated with numerous examples, this second edition of A Handbook of Diction for Singers is an exceptional text for courses in diction and a valuable reference source for all vocalists.

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