The baritone voice: a personal guide to acquiring a superior singing technique
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Wellesley, MA
IPL
2007
|
| Ausgabe: | expanded and updated ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 132 S. Notenbeisp. |
| ISBN: | 0828321817 9780828321815 |
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| 245 | 1 | 0 | |a The baritone voice |b a personal guide to acquiring a superior singing technique |c Anthony Frisell |
| 250 | |a expanded and updated ed. | ||
| 264 | 1 | |a Wellesley, MA |b IPL |c 2007 | |
| 300 | |a 132 S. |b Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
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Datensatz im Suchindex
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|---|---|
| adam_text | CONTENTS
Chapter One
.............................................................................................................7
•The Mental Image Approach,
·
Fixed Rules, «Pure Vowels,
·
Control, «Musicianship,
·
The Science
of Voice Advocates.
ChapterTwo
........................................................................................................................10
•
Identifying the Vocal Registers,
·
Defining the Vocal Registers,
·Α
permanent antagonism exists
between the two registers,
·
The permanent location of the registers break .
·
The vocal
passaggio
, ·
Some basic characteristics and terms that are often applied to the two vocal registers,
·
The Lower
Register,
·
The Upper Register,
·
A ruling principle, The metamorphoses of the two registers,
·
The basic
tools used for vocal exercises,
·
Breath tension (motor force), «The three methods of applying breath
tension dynamics to the singing instrument,
·
The five vocal vowels
—
The Mechanical functions of the
five singing vowels:
u
(oo),
і
(ее),
e
(eh),
о
(oh), and a (ah),
·
I.
The
u
(oo)
vowel,
·
II.
The
і
(ее)
vowel,
·
III. The
e (eh)
vowel,
·
IV
The
о
(oh) vowel,
·
V. The a (ah) vowel,
·
Locating the Registers Break,
·
Never force the lower register upward.
Chapter Three
...............................................................................................................36
•
Breathing,
·
A comparison of breathing needs,
·
The diaphragm is a motor force,
·
•
Inhalation,
·
Exhalation,
·
Breath Control ,
·
The critical moment of transferring the breath tension,
·
Should one breathe through the mouth or nose, while singing?,
·
The most undesirable method of
breathing,
·
Breathing exercises?
Chapter Four
............................................................................................................41
•The Building Process,
·
A series of descending scales, practiced with the tones of the upper register.
•
Exercise No.
1 :
The single, sustained falsetto tone,
·
Selecting an appropriate vowel for a given exercise,
•Exercise No.
2:
Descending falsetto scales that include vocal movement, *More descending falsetto tone
exercises,
·
Legato: The meaning of the term,
·
The unusual lower octave of all correctly structured
singing voices,
·
The resonance channel, or the
Colonna Sonora,
·
Decreases and increases of vibratory
mass,
·
The nature and important function of the impingement, or hookup points that line the vocal tract,
•
The phenomenal adjustability of the pharyngeal-tract, from which the sound waves passageway is
created.
Chapter Five
.............................................................................................................57
•The
messa di voce
exercise:
Abrief
review of its history,
·
Factors to be aware of when applying the
messa di voce, or swelled-tone
exercise,
•Exercise No.
3:
Contemporary applications of the
messa di voce
exercise,
·
Two hypothetical scenarios
involving the swelled-tone exercise,
· 1st
example: A successful performance,
• 2nd
example: A compromised performance, »Aspects of the imperfect swelled-tone exercise,
•
Success with the swelled-tone exercise on the
e (eh)
vowel indicates an important turning point,
•
An oscillating pattern of exercise is required to maintain the function of both registers,
•
Shifting the structural focus from the head voice muscles and toward the chest voice muscles,
•
The upward pulling action of the advanced falsetto voice,
·
Ascending vocal movement,
•
The nature and important function of the hookup points that line the vocal tract,
·
The middle-falsetto,
or mixed voice
, ·
The Witch s Voice , or
voce di strega ,
•Another, less ideal approach to blending the action of the full voice and falsetto,
·
The esclamazio viva
exercises,
·
The inverted tone,
·
The Vocal Platform ,
·
Getting ready to sing after vocalization,
·
The
classic songs and arias of the Seventeen and Eighteen centuries,
·
The hollow
u (oo)
vowel , and
perfecting the
passaggio
or registers break ,
·
Standard
u (oo)
vowel ascending scales,· Giorgio
Roncone s amazing discovery concerning the
u (oo)
vowel.
The Baritone Voice
—5
•
The gathered voice ,
·
More about the gathered voice ,
·
La voce di gola,
or the voice of the throat ,
•
The tongue,
·
The consonants,
·
The lips and facial muscles.
Chapter Six
.........................................................................................................................104
•Low larynx position versus High larynx position,
·
The Detached Falsetto
і
(ее)
vowel s structuring tool,
•
The three separate muscular mechanisms that control the advanced developed voice,
·
The pufry throat
sensations of the advanced falsetto tones,
·
The ascending scales that prepare the singing voice for
performance,
·
The technical nature of the ascending vocal movement,
·
The narrow beams of sound of
the upper range,
·
The first major ascending scale exercises and the critically important vertical ascent ,
·
The esclamazio
languida,
·
Protecting the Singing Voice after it has been completely structured,
•In closing,
·
A true desire for success,
·
Decision and persistence,
·
Inspiration,
•
A recent article by Anthony Frisell: Is there an American
Schaal
of classical voice training? If
so—has it failed American singers?.........,..,.............,.
...............................................................122
•About Anthony Frisell
................................................................................. 133
•Master Classes given by
.........................................................................................134
Anthony Frisell—
6
|
| adam_txt |
CONTENTS
Chapter One
.7
•The Mental Image Approach,
·
Fixed Rules, «Pure Vowels,
·
Control, «Musicianship,
·
The "Science
of Voice" Advocates.
ChapterTwo
.10
•
Identifying the Vocal Registers,
·
Defining the Vocal Registers,
·Α
permanent antagonism exists
between the two registers,
·
The permanent location of the "registers' break".
·
The vocal
"passaggio"
, ·
Some basic characteristics and terms that are often applied to the two vocal registers,
·
The Lower
Register,
·
The Upper Register,
·
A ruling principle, The metamorphoses of the two registers,
·
The basic
tools used for vocal exercises,
·
Breath tension (motor force), «The three methods of applying breath
tension dynamics to the singing instrument,
·
The five vocal vowels
—
The Mechanical functions of the
five singing vowels:
u
(oo),
і
(ее),
e
(eh),
о
(oh), and a (ah),
·
I.
The
u
(oo)
vowel,
·
II.
The
і
(ее)
vowel,
·
III. The
e (eh)
vowel,
·
IV
The
о
(oh) vowel,
·
V. The a (ah) vowel,
·
Locating the Registers' Break,
·
Never force the lower register upward.
Chapter Three
.36
•
Breathing,
·
A comparison of breathing needs,
·
The diaphragm is a motor force,
·
•
Inhalation,
·
Exhalation,
·
"Breath Control",
·
The critical moment of transferring the breath tension,
·
Should one breathe through the mouth or nose, while singing?,
·
The most undesirable method of
breathing,
·
Breathing exercises?
Chapter Four
.41
•The Building Process,
·
A series of descending scales, practiced with the tones of the upper register.
•
Exercise No.
1 :
The single, sustained falsetto tone,
·
Selecting an appropriate vowel for a given exercise,
•Exercise No.
2:
Descending falsetto scales that include vocal movement, *More descending falsetto tone
exercises,
·
Legato: The meaning of the term,
·
The unusual lower octave of all correctly structured
singing voices,
·
The resonance channel, or the
Colonna Sonora,
·
Decreases and increases of vibratory
mass,
·
The nature and important function of the impingement, or "hookup" points that line the vocal tract,
•
The phenomenal "adjustability" of the pharyngeal-tract, from which the sound waves passageway is
created.
Chapter Five
.57
•The
messa di voce
exercise:
Abrief
review of its history,
·
Factors to be aware of when applying the
messa di voce, or swelled-tone
exercise,
•Exercise No.
3:
Contemporary applications of the
messa di voce
exercise,
·
Two hypothetical scenarios
involving the "swelled-tone" exercise,
· 1st
example: A successful performance,
• 2nd
example: A compromised performance, »Aspects of the imperfect swelled-tone exercise,
•
Success with the swelled-tone exercise on the
e (eh)
vowel indicates an important turning point,
•
An oscillating pattern of exercise is required to maintain the function of both registers,
•
Shifting the structural focus from the head voice muscles and toward the chest voice muscles,
•
The "upward pulling action" of the advanced falsetto voice,
·
Ascending vocal movement,
•
The nature and important function of the "hookup" points that line the vocal tract,
·
The middle-falsetto,
or "mixed voice"
, ·
The "Witch's Voice', or
"voce di strega",
•Another, less ideal approach to blending the action of the full voice and falsetto,
·
The esclamazio viva
exercises,
·
The "inverted" tone,
·
The "Vocal Platform",
·
Getting ready to sing after vocalization,
·
The
classic songs and arias of the Seventeen and Eighteen centuries,
·
The "hollow
u (oo)
vowel", and
perfecting the
"passaggio"
or "registers' break",
·
Standard
u (oo)
vowel ascending scales,· Giorgio
Roncone's amazing discovery concerning the
u (oo)
vowel.
The Baritone Voice
—5
•
The "gathered voice",
·
More about the "gathered voice",
·
La voce di gola,
or "the voice of the throat",
•
The tongue,
·
The consonants,
·
The lips and facial muscles.
Chapter Six
.104
•Low larynx position versus High larynx position,
·
The Detached Falsetto
і
(ее)
vowel's structuring tool,
•
The three separate muscular mechanisms that control the advanced developed voice,
·
The "pufry" throat
sensations of the advanced falsetto tones,
·
The ascending scales that prepare the singing voice for
performance,
·
The technical nature of the ascending vocal movement,
·
The narrow "beams" of sound of
the upper range,
·
The first major ascending scale exercises and the critically important "vertical ascent",
·
The esclamazio
languida,
·
Protecting the Singing Voice after it has been completely structured,
•In closing,
·
A true desire for success,
·
Decision and persistence,
·
Inspiration,
•
A recent article by Anthony Frisell: Is there an '"American
Schaal
"
of classical voice training? If
so—has it failed American singers?.,.,.,.
.122
•About Anthony Frisell
. 133
•Master Classes given by
.134
Anthony Frisell—
6 |
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| illustrated | Illustrated |
| index_date | 2024-07-02T17:18:05Z |
| indexdate | 2024-07-09T20:56:46Z |
| institution | BVB |
| isbn | 0828321817 9780828321815 |
| language | English |
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| spelling | Frisell, Anthony Verfasser aut The baritone voice a personal guide to acquiring a superior singing technique Anthony Frisell expanded and updated ed. Wellesley, MA IPL 2007 132 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Baritones (Singers) Training of Singing Instruction and study Bariton Stimmlage (DE-588)4392006-8 gnd rswk-swf Stimmbildung (DE-588)4057583-4 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Stimmbildung (DE-588)4057583-4 s Bariton Stimmlage (DE-588)4392006-8 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015608838&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Frisell, Anthony The baritone voice a personal guide to acquiring a superior singing technique Baritones (Singers) Training of Singing Instruction and study Bariton Stimmlage (DE-588)4392006-8 gnd Stimmbildung (DE-588)4057583-4 gnd |
| subject_GND | (DE-588)4392006-8 (DE-588)4057583-4 (DE-588)4151278-9 |
| title | The baritone voice a personal guide to acquiring a superior singing technique |
| title_auth | The baritone voice a personal guide to acquiring a superior singing technique |
| title_exact_search | The baritone voice a personal guide to acquiring a superior singing technique |
| title_exact_search_txtP | The baritone voice a personal guide to acquiring a superior singing technique |
| title_full | The baritone voice a personal guide to acquiring a superior singing technique Anthony Frisell |
| title_fullStr | The baritone voice a personal guide to acquiring a superior singing technique Anthony Frisell |
| title_full_unstemmed | The baritone voice a personal guide to acquiring a superior singing technique Anthony Frisell |
| title_short | The baritone voice |
| title_sort | the baritone voice a personal guide to acquiring a superior singing technique |
| title_sub | a personal guide to acquiring a superior singing technique |
| topic | Baritones (Singers) Training of Singing Instruction and study Bariton Stimmlage (DE-588)4392006-8 gnd Stimmbildung (DE-588)4057583-4 gnd |
| topic_facet | Baritones (Singers) Training of Singing Instruction and study Bariton Stimmlage Stimmbildung Einführung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015608838&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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