Vocal Music Advice

• About 300 pages, Chapman, an experienced Australian singer/voice teacher has written her version of the foundation for vocal pedagogy – (more succinctly given by McKinney) and is organized similarly to McKinney’s volume.  While being scientifically and conceptually sound, she does insist upon some jargon that is distinctive to her studio.  She admits that her recommendations are hers … based almost solely on her experience (which is long and illustrious), and so does not move past her own experience (sometimes confining from this reader’s perspective), although admits to being open to new perspectives on teaching as needed.  Chapman’s perspective of registration departs from science to conceptual and ‘experiential,’ thus readers will need to account for that.  That said, I would highly recommend this text for a graduate course in vocal pedagogy, assuming that the same students had had a foundational or prior course in vocal pedagogy using the Vennard and McKinney texts.  This is a very useful addition to the personal library of the experienced voice teacher and graduate student of voice.  This evaluator also finds a huge percentage of identical pedagogical practices and experience to his own.  The wisdom gained from such experience will be useful for all young teachers. 

Plural Publishing, Inc. 2008.  About 210 pages of body content.

• This book, slightly over 200 pages, attempts to “tell all” concerning the foundation for vocal use, the apparatus, performance and voice care.  While giving a lot of practical “data,” the volume should be viewed as a “resource” for voice professionals (professional singers, voice teachers, instructors, public speakers) as a means for finding out something that will apply to their situation – with general guidelines to follow.  This is not a volume of foundational use as a text for young voice pedagogues but can augment (with “additional readings”) the subject of vocal pedagogy for the interested student.

Revised and expanded 1994, Genevox Music Group. Reissued 2005 by Waveland Press, Inc.

• Easily the most concise yet complete foundation for the subject of Vocal Pedagogy – and written in language that is accessible by the larger public.  This volume builds upon Vennard’s tome but with an organization that is simple to follow.  While seemingly often ignored by those who follow Miller, Titze, etc. – McKinney’s work far outstrips any other for succinct and thorough coverage of the topic and is essential for any voice teacher’s library.  McKinney was Vennard’s last protégé.
• It is worth noting the organization of the material that is covered:
  • Diagnosing vocal faults
  • Basic approach to vocal sound (the nature of sound)
  • Posture
  • Breathing and support
  • Phonation
  • Registration
  • Voice Classification
  • Resonation
  • Articulation
  • The speaking voice
  • Coordination

Revised and enlarged 1967, Carl Fischer, Inc.

• Considered “the bible” for vocal pedagogy texts in the U.S. ever since the first printing in 1967.  This is still foundational and essential material for every knowledgeable voice teacher.
• I consider this a “primary source” that every serious voice teacher should have in their personal library.
• This text forms the basis for supplemental readings for my FOUNDATION TO VOCAL PEDAGOGY course.
• Vennard was the voice teacher of Marilyn Horne among other fine singers.
• His direct approach is organized under

1. Acoustics
2. Breathing
3. Attack
4. Registration
5. Resonance
6. Vowels
7. Articulation, and
8. Coordination.

Ladies and Gentlemen:

As of mid-May 2012, I am available as a choral conducting clinician and voice teacher consultant.  Dates need to be secured 3 to 6 months in advance.  I am moving on to another meaningful line of work (see below), one in which I need not work for a “boss” or “department chair” anymore!  Hallelujah!  Should my musical services ever be desired in your community, school or department know that my areas of expertise include:

1. Private one-on-one voice teaching

2. Choral conducting (i.e. me leading vocal ensembles)

3. Teaching Conducting – for aspiring young conductors

4. Diction for singers – English, Latin, Italian, German, French

5. Vocal Pedagogy and Voice-Teacher mentoring – for aspiring voice teachers.

THE GREAT NEW THING IS: Financial services.

I’m excited to be moving into the field of teaching (yeah!) asset management: how to save money monthly and invest it safely so as to reach YOUR goals and dreams, and then actually help you achieve it!  Do you think that’s important in this country and in our economy?  So do I!  I’m on a crusade to help middle-income families … and kill the credit card business.  This is no crock!

Ken W. Anderson

Ahmed, 25 says: I’m a 25 year old male classical singer, in training who has been taking private lessons for the past 3 years. I have also been part of choirs, and was assigned Bass section, and usually Bass 2, (if it were an 8-part choir). I am trying to find out what my voice type/fach is. My previous teacher said I was a baritone. I would like to know even more specifically what type of baritone am I. I go through my primo passagio at about B-flat3 and secondo at E-flat4. I can vocalize down to E-flat2 and up to F#4 (I can usually squeeze up to G#4 in falsetto). Thanks and I hope you can help me.

ANSWER: Hi Ahmed,

I cannot be definitive about what “fach” you fit until I hear you (your comfortable tessitura and timbre) … but, at 25, I would tend to think of you as a bass-baritone.  Therefore, singing

1. the two arias by Sarastro in “Magic Flute” in a small production – all the way to singing
   
2. Se vual ballare and Non piu andrai from Le Nozze de Figaro (Mozart), and
   
3. Il lacerato spirito from Simon Boccanegra (Verdi) could fit your voice quite well.
4. Take a look at La Calunnia from Il Barbiere de Siviglia (Barber of Seville) by Rossini too.

I hope these give you some direction. The “fach” method is specifically applied to operatic literature.  However, you should investigate the German lieder and French mélodie literature that would be appropriate for you too.

Best wishes.

Tracy, age 20 asks: “First, I want to thank you for making this site. It is really helpful and I enjoy reading it a lot. I have a question about tessitura: what notes are considered the tessitura of a baritone? Tenor? Bass? Also, in operatic literature, what note best equates to the tenor’s high C for a baritone? A bass? Thank you once again, it’s rare to find a resource like this.”

Answer: Great questions Tracy!  Take the following as a general guide.

A mature tenor’s functional range will normally be about C, one octave below middle C, to the C above middle C.  The “tessitura” in which he finds most comfort and ease is generally around F below middle C to the A or B-flat above middle C.

A mature lyric baritone’s functional range will normally be about A (an octave  +3rd below middle C) to the A above middle C.  The “tessitura” in which he finds most comfort and ease is generally around D or E-flat below middle C to F or G above middle C.  Depending upon the singer, this range and tessitura might be identified as “Helden Tenor” by some who choose to sing that literature.

A mature baritone’s functional range will normally be about G (1½ octaves below middle C) to the G above middle C.  The “tessitura” in which he finds most comfort and ease is generally around B-flat or C below middle C to middle C or D just above.

A mature bass-baritone’s functional range will normally be about E-flat or F (more than 1½ octaves below middle C) to E-flat or F above middle C.  The “tessitura” in which he finds most comfort and ease is generally around A-flat or A (an octave  +3rd below middle C) to A or B just below middle C.

A mature bass’s functional range will normally be about C or D (two octaves below middle C) to middle C or the D a step above.  The “tessitura” in which he finds most comfort and ease is generally around E or F (an octave +5th below middle C) to G or A below middle C.

Caveat: Please note that these designations are necessarily somewhat general because few of us fit neatly into a stereotype … and for an operatic singer these ranges would be considered confined, because they frequently use a wider range than 2 octaves … this is the reason for me using terms like “functional” and “normally.”  I will also tell you that depending upon the teacher, the ranges I have given for the various voice classifications would be disputed up or down.

If C above middle C is considered an operatic tenor’s “high note”, A or B-flat would be the lyric baritone’s high note, G or A-flat would be a regular baritone’s high note, E or F would be a bass-baritone’s regular high note, and E-flat or E would be a bass’s high note.  Again, I’m speaking of mature voices … and also while these designations are “normal,” individuals will vary, higher or lower depending upon the idiosyncrasies of their voice.

I hope this is helpful.

By the way, if you want to do some research on the subject of operatic voice classification, read up on the German “Fach” system.

An anonymous 30 year old from the U.K. says: Hey,
I recently started singing again after a period of about 4 years. I have joined a male voice choir (T1 T2 BARITONE BASS). In the past I have always sung baritone but after a range test with the MD I was placed in the bass section. It is true of me that my voice does sound different now and I appear to have lost a few notes on the top and have gained them on the bottom.  My current range stands at the C two octaves below middle C to the D just above middle C. My lower range is very solid and my voice is fuller sounding down there. Is it possible I am just out of practice and I could regain more of the baritone range or do some guys’ voices just settle down in the mid-to-late 20′s (the period I have not been singing)?
Many thanks

Answer: Hello,

Friend, you have described what is not at all uncommon.  Men’s larynges first come to full maturity in their mid-thirties … and it is evident that from your mid-twenties to age 30 your voice has continued to settle on the lower end.  Two useful octaves from “C two octaves below middle C to the D just above Middle C”, plus “my lower range is very solid and my voice is fuller sounding down there” describes a bass, pure and simple.  You will be a huge asset to the group, for the highest and lowest voices are the most difficult to find and fill in choral ensembles.  Accept it and enjoy it.

It is possible that with regular singing over time you may regain a few more of your higher notes above middle C, (when you considered yourself baritone) but using them would be the exception not the rule for your vocal longevity and enjoyment in singing.

Best wishes.

Dr. A.

PS. In my comments above I assumed that you are healthy and have a healthy lifestyle.  However, I should add this caveat, if you are a smoker, a regular daily smoker, you will have injured your voice in such a way that results in lowering your vocal range.  This also is not reversible and will have the added consequence of shortening your singing life.  I trust that this is not true of you.

Werdna (pronounced: vehrd-NAY), 17, says: I don’t exactly know very much about the vocal fry. I’ve always been told that it is harmful for your voice and that it isn’t “true” singing. Would you clarify this for me?

ANSWER: Good question, Werdna.

The vocal fry is another “register” of the voice … a different way to produce (very low-pitched) tones.  What happens is that the vocal cords close loosely and air is made to bubble up through them (quite literally).  With practice these notes can be “tuned.”  In this way men are able to access a few notes lower than the bottom end of their normal modal register – and this is usually used in choral situations by baritones or basses who may have notes as low as low C, B or B-flat that can be reached no other way.  It is said that “Russian basses” frequently specialize in this, and thus are able to produce some very resonant low notes.  Like falsetto, this register of the voice is rarely used and should not be a part of common usage because predominant long-term use will eventually damage the voice.  Occasionally one will hear a public speaker or radio announcer with a speech idiosyncrasy in which every sentence ends by falling in pitch with the final syllable spoken in a low vocal fry.  It can be quite irritating —or amusing— to listen to when it becomes a repeated mannerism.

Warmly, Dr. A.

Werdna (pronounced: vehrd-NAY), 17 says: I was mainly asking because I’m unsure of what exactly falsetto is used for. I may certainly be wrong, but to me falsetto is just how I reach notes that are above my range – which doesn’t happen very often in choir while I sing the baritone part. I’m confused as to what the sound is supposed to be like. Will it only ever be as you said “light and flutey without a lot of color”? I’m never sure what to do when my choir director asks me to sing louder while in falsetto, I can only get so loud.

Sometimes it seems like it’s not very smooth when I switch up to falsetto. I want to change this to get a smooth transition – are there vocal exercises that I can do to help with that?

Answer: Fair question Werdna:

Unless you decide to become a “falsettist-countertenor”, falsetto is used to access high notes that can be reached no other way.  Inevitably those first notes in falsetto can be vastly smaller in sound and without the potential of strengthening them.  Falsetto is not the normal/usual function of the voice, but only one to use sparingly.  This apparently is exactly how and why you are currently using falsetto.  Bravo!  It will only ever be “light and flutey without a lot of color”.  The only exception to that is when you are reaching the upper limits of your falsetto range – when about all you can produce is a fortissimo sound.  Unlike the normal singing voice that has a great deal of potential for dynamic changes and expressiveness, falsetto does not have the same potential for much dynamic change, and therefore we call it “monochrome”.  Forgive me for meddling now … but it is unfortunate that your choir director is asking you to produce a loud sound just where you find yourself having to move into falsetto.  While the music may ask for that, developing voices (especially at your age) simply are not capable of many of those things yet, so it is not reasonable to demand them, besides being impossible just as one transitions into falsetto.  Your expressive abilities will have greatly increased by the time you’re 21, and developed even more by the time you are 30.

Re: making a smooth transition from “modal voice” (normal singing) to falsetto: an ascending and descending scale can be vocalized, first where it is comfortable in your range, then with every repetition raised by a half-step. I suggest using a major scale up an octave plus a note and down again.  Rather than crescendo to the top note (as one does when developing the voice), decrescendo to the top note so that you are approaching the high notes close to a pp dynamic level.  Sing by feel, until you feel yourself moving into falsetto without a massive FLIP.  It will take some experimenting, and possibly some weeks to find yourself able to make that switch easily.  Either way, don’t fret about it.  [In the ascending/descending scale: begin ascending on the major scale starting on the vowel EEE for 4 notes, AY for the next 4 notes, AH from the top note working down 4 notes, AY descending another 4 notes, with the last note on EEE.  This uses the octave-plus-a-note exercise I described above.]

What continues to be important as your voice develops is that you maintain wonderful posture and a normal respiration process.

Let me know how you fair.  Best wishes.