PHNG PHP THANH NHC CA ANTHONY FRISELL

ENTRY #1 Nhng s tht v cng quan trng v ging ht ca bn, c th bn thn bn v ging vin thanh nhc ca bn cng khng bit.
K thut thanh nhc m chng ta hc ngy nay, l nhng k thut c kim chng t rt lu. 95% ngi tng hc thanh nhc ni vi ti rng h thm ch cn khng ht ni mt bi ht n gin. Ti nhn ra rng, nguyn nhn ca s tht bi ny l do hu ht ging vin thanh nhc v hc vin khng hiu r ngun gc cn bn ca m thanh v cha luyn ging ng cch bng nhng phng php luyn thanh ca cc ca s bc thy trc y. Ging u l yu t quan trng to nn mt ging ht ng cp, cng l cch duy nht ngi ht c th ln n nt rt cao trong m vc ca mnh. Ht nhc c in c xem l mt hnh thi ngh thut v l mt b mn hp dn m nhiu ngi a thch. Nhng cng nh nhng ngnh khoa hc kh khan khc nh vt l, ton hc ht c in c nhiu quy nh v nguyn tc cng nhc. Ging vi cc b mn khoa hc khc, ht nhc c in i hi nhiu yu t, bn cn hc nhng nguyn tc quan trng v luyn tp chm ch tch ly kin thc v kinh nghim. Ngi hc thanh nhc cn phi lm vic ct lc trong mt khong thi gian rt di. Bt u t vic nghin cu, c, iu tra, quan st v suy ngh, sau t t p dng l thuyt hc vo thc hnh.

ENTRY#2 Bn, ging vin thanh nhc ca bn, v qu trnh luyn tp.|"
Hu ht nhng ai c tham vng tr thnh ca s chuyn nghip u phi hc vi gio vin thanh nhc. Vic gip h c th hiu ging ht ca h hn, hc nhng nguyn tc c bn ca m thanh v cch luyn ging. Tuy nhin, mt cht ging hay cha chc c th tr thnh mt ca s ln, bi v mt ca s ln phi bit cch truyn ti ci thn ca h vi ngi nghe. tm ging vin thanh nhc gii khng phi l mt vn n gin. Trc tin, bn cn tm hiu mt s thng tin v ging vin nh : tng hc u, trng phi no, kinh nghim v.v..

Dame Joan Sutherland, n ca s ging soprano tng pht biu trn t The Guardian rng : vic hc thanh nhc mt cch bi bn l iu v cng quan trng. Nhiu ngi, ngay c ca s vn khng hc cch th, ly hi khi ht, thm ch h cn khng tp ht xng m. C rt nhiu bi tp luyn ging gip bn c th ht legato v chuyn t ging trung ln ging cao hn. Nhng by gi h thng ht trong c v sau h gng sc ht ln cao. H khng bit cch ht sao cho ng, v cui cng h phi tr gi (hng ging). Luyn thanh khng bao gi d dng, vic ny ging nh bn ang tham gia vo mt cuc phiu lu, khm ph nhng iu b mt m ngay c chnh bn cng khng bit bn c th tm ra hay khng. Hc tp y l nn tng c bn nhng iu khng c ngha s xy dng nn mt ging ht hay. Bn phi phn bit r rng gia mt ci my bit ht vi thm m m nhc. L d nhin, ging vin thanh nhc ca bn s phn bit c hai iu ny, khi c mt thm m m nhc tt th bn s c nhiu c hi thnh cng hn. Thnh cng hay tht bi u ty thuc vo chnh bn thn bn. Vi ngi mi hc, mt ging vin c kinh nghim s hiu c iu g tt, iu g c hi v phng php no ph hp luyn cho tng ngi. Nm nguyn m u (oo), I (ee), e (eh), o (oh), a (ah) c pht m theo ging ca ngi bn x, chnh l yu t quan trng trong tt c cc cu trc cn bn. Nm nguyn m ca ting ni cng chnh l nm nguyn m to ra ging ht. Ngi ca s phi hiu rng c mt ging ht khe, v bn thn vic pht m cc nguyn m trn, tt c u b chi phi bi hi ngc v nhng phi hp khc nhau trong hot ng ca thanh qun v hu. to ra m thanh y n, ngi ca s phi t ng v tr ca thanh qun v hu. Cng lc l hot ng phi hp gia mi, m v li. iu ny s quyt nh cao , cng v trng ca m thanh. Dnh cho ging nam cao Mt vi m s kha Fa, v mt vi m cao hn s c chuyn ln vit kha Sol. Trong mt s trng hp, thun tin hn, nt nhc cho ging nam cao s c dch ln mt qung 8 v vit kha Sol. Dnh cho ging n : n cao v n trm. Dnh cho ging nam trung v nam trm

Mi nt trn l mi nt kh ht ng v tr m thanh nht. V mt phu thut hc, khi bn ht nhng m trn, cc c trong vm hng s tng h ln nhau. Minh ha bn trn ch ra v tr ca khu vc chuyn ging. l khong gia Mi thng v Fa thng nm trn gia ( 4), y cng l khong chuyn ging cho tt c cc loi ging ca nam v n. Tt c cc m nm di Mi thng trn 4 u thuc v ging ngc, bao gm c Mi thng. K t nt Fa thng nm trn 4, tt c cc m u thuc khu vc trn, thuc v ging u, bao gm c nt Fa thng trn 4. Khu vc chuyn ging ny khng h thay i tt c cc loi ging, t ging mi hc cho n ging c th biu din trn sn khu. Bn nt trong khu vc chuyn : Mi ging-Mi thng nm di khu vc chuyn, v Fa thng Sol thng nm trn khu vc chuyn. iu quan trng khng phi l bn gng cc c hay c gng ht to, lm nh vy s sn sinh ra lc bn cn th lng v y hi t t, t thp ln cao. l l do ti sao ti a ra nhiu m nh vy Only a rare few voice teachers and singers believe that the problems of blending the registers break which divides the two vocal registersand which is permanently located between Enatural, and F-natural above middle Ccan be accomplished by restructuring four unique

pitches in the Registers Break area. Two of these pitches, E-flat and E-natural, are situated below the Registers Break, while the other two, F-sharp and G-natural are situated above the Registers Break. The fallacy of that concept is that, no matter how much one attempts to bring the two antagonistic registers into total harmony by solely altering those four particular pitches, since collectively they do not contribute a sufficient force necessary to nullify the antagonism between the chest register and head register, and allow the singer to create a totally muscularly harmonious range of tones, from its bottom to its top. It is for that reason that I have extended the number of pitches from four whole tones to ten half-tones which are precisely sufficient to totally transform the registers break muscles away from their inherent muscular antagonism towards each other, and create a totally harmonious middle area range, in the center of the complete range, which is situated between the bottom range and top range.

The Long Neglected and Forgotten Principles and Applications of the Breath Force Khng mt bi tp luyn thanh no c th ch ra chnh xc bng cch no bn c th x l qung chuyn ging sao cho tht mt m, khng b l. None of the vocal exercises that must be employed to correctly structure the critical tones of the wide passaggio can be applied effectively without clear, precise knowledge of how the motor force of breath tension and it specific exercise must be applied to a selected tone of wide passaggio area, and its appropriate vowel. During recent decades, whats been taught about the breathing system has dwindled down to an inadequate litany which merely deals with how to breathe air in and out of the lungs. This fails to explain and impart any of the complicated exercises which all serious students of voice structuring need to know, in order to first build their singing voices, then to sing in a superior manner with it.

Giovanni Battista Lamperti (1839-1910), made one of the greatest statements of them all about the breathing system:

The motives and movement of your mind and body (the musicianship, the coaching, the style, the communication, the spirit and the physiological movements involved), make up only half of the proposition of singing. Natural phenomena of vibration and resonance contribute the other half. And sadly, we are paying less attention to that half than did the great teaching lines of the past!

On Giovanni Battista Lampertis sage note, I will end my second Blog entry. At out next session, I will discuss how appropriate applications of the breath force must be used with special exercises that help the singer build a superior singing voice.

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Entry #3Does your singing voice posses a complete range of tones?

Has your singing teacher assigned you a lot of ascending scale exercises, which utilized the raw chest voice a (ah) vowel? Are you satisfied with the results they have had upon your singing instrument? Perhaps, it is time for al all voice teaches and their students to rethink why they employ certain vocal exercises. Or, at least, ask themselves what specific results they expected to achieve, by applying them. What should the teacher be listening for when assigning a student a particular exercise? What informs him/her that the chosen exercise is being properly executed? How should he/she communicate to the student what he/she wants to physically accomplish with that particular exercise? Generally, present day singing teachers listen mainly to the quality results which their student produce, in response to the vocal exercises assigned to them. And they invariably urge their student to try and produce beautiful sound, that are only possible at advanced levels of muscular development. Therefore this approach is inappropriate, because there are many more factors, appropriate for beginners, which the teacher should be listening for. He/she should be judging the various ways in which a particular exercise has influenced the muscular behavior of a selected pitch, when the singer attempt to sing a simple song. But more importantly, the singing teacher should be concerned about how that particular pitch interacts with its neighboring pitchesnegatively or positively. A singing teachers hearing judgements, concerning an assigned exercise, are not alone sufficient, to grant him/her all the required skills necessary for developing a superior singing voice for his/her pupils. Indeed, there is much more than merely listening to the sound quality of a selected pitch, after the student has completed an assigned exercise. The challenges of creating a superior singing voice require much empirically proven knowledge and experience about the muscles which are involved in the building process, and what must be done to them, by way of development. Many present-day individuals who proclaim themselves to be qualified voice teachers, but who do not possess such critical knowledge and

nor empirical experience are merely doing untested and unproven guess work. They are naively and irresponsibly operating on a trial and error lets see waht happens basis, which is not acceptable. When many vocal structural mistakes have been made with a students voice, they cannot easily be undone. Beside the psychological damage which had been caused, there is also mental imagery damage that lingers on, seemingly eternally, which seems to operate on its own will power, and against the wishes of the student to rid himself/herself of it, and regain control of his/her run-away singing voice. I hope that presently, no one is foolish or naive enough to believe that we are living in a Golden Age of great singers and great voice teachers. If the old saying still stands, Dont look back and merely complain, make a new and better start! I fully agree with that positive and hopeful go-forward attitude. But it will never happen in a million years, as the old clich goes, not until present day singing teachers stop trying to structure superior singing voices, by making the same mistakes over and over, of assigning to their students ascending scales that utilize the raw chest voice vowel, almost exclusively. A proper and highly productive new start to vocal training can begin by removing your focus away from the pitches of the Bottom Range, an refocusing your complete attention upon the pitches of wide passaggio! This is valid for all singers, of all vocal categories! Please understand this: No vocal exercise, no matter how appropriate and highly productive it may be, can not be effectively applied to any of the pitches of the wide passaggio, without the singer possessing clear, precise knowledge of how the motor force of breath tension operates, and precisely how it is to be applied to a selected pitch and its accompanying vowel, in order to fully and appropriately develop it Therefore, we will now present some technical ideas concerning the importance of the breath force. No matter what approach one adopts for structuring the singing instrument, you must quickly come to understand this critical fact: that all ascending scales and vocal phrases possess a potential for damaging the singing instrument. It is through mastering all the usages of the breath force that such potential damage can be averted. The upward journey of the ascending scale, when performed to perfection will reveal the physical nature of the Two Vocal Registers, The Chest Voice and the Head Voice, and it will also reveal the two registers inherent, permanent antagonism towards each other. But understand that all ascending scales are for the latter part of the long and time consuming process of structuring a superior singing voice, but that they are not to be performed at the beginning of training. Some critical facts to know about the two muscular systems of control which are generally known as the vocal registers, which all singers must become totally familiar with, in order to first build a classical singing voice, and then to learn how to control it!

Undeniably, there exist two primary and extremely different muscular controls which all singers encounter when they attempt to ascend and/or descend the pathway of their complete ranges. If the muscular adjustments of these two separate, antagonistic muscular controls are not properly dealt with, there is no chance of vocal success. Most singers, and especially female singers, naively believe they can sing with a small group of pitches, carefully selected from their complete ranges, which appear to be cooperative, without the rest of the range suffering any negative consequences. Male singers, and especially inappropriately categorized Basses and Baritones, make the same mistakes generally made by many female singers, as described above. Understand that, any time a singers neglects certain selected notes from his/her complete range, the neglected notes with soon start causing them vocal problems, and if these problems are not quickly attended to, structurally, they will eventually deny those singers complete usage of their singing voices.

The Lower, or Chest Register Range

The lower range of all singers voices is dominated and controlled by the muscles of the chest voice. While the upper range is dominated and controlled by the muscles of the head voice,or falsetto voice. Certain sections of the chest and head voice ranges can be made to overlap each other in unusual, but beneficial ways, in the middle range area, or what I call the Wide Passaggio. Passaggio is an Italian word which means passageway. Understand that all passages ways or not traversed merely once, but many times over. This method of using the muscular controls of both the head and chest voice registers outside of their original borders and making them operate within the borders of each other, represents the first major step which the singer is taking to overcome the antagonism which the two registers inherently hold towards each other. This can be accomplished by many masterful applications of the breath force, using the detached falsetto u (oo) and i (ee) vowels, alternatingly, and descending scales exercises. The slow process of overlapping of the muscular controls of the head voice or falsetto register, downward in the range, overlapping the top area of the chest register, has a specific purpose, which is presently not known of, but which is the main factor that contributes to the success or failure of making the two registers give up the inherent antagonism they hold towards the opposite registers, and to muscularly, and harmonious way work together as if they but a single muscular control, which allows the singer to sing freely , accurately, and musically, in a synergistic manner, throughout his/her complete range of tones. Admittedly, many individuals, internationally involved with classical vocal pedagogy have been aware that the singer must blend, or mix, his /her two vocal registers together, in order for them to become cooperative with each other and allow the signer to sing smoothly and beautifully with them. However, practically no one presently know how this can be accomplished, and by what, magical, unknown method.

However, that so called unknown and magical method of blending or mixing the two vocal registers, are making them muscularly harmonious with each other is no longer unknown , since the publication of my vocal manual, The Art of Singing on the Breath Flow, in 1995. And that former secret method is simply this. The muscular setup of the Chest Voice Register does not allow any singers to use the force of the breath flow, if the singer attempts to any chest voice pitch which has not been infused with the power of the breath flow. And conversely, the head voices pitches, from F-Natural to the B-Natural above Middle C, for all male signers, and the F2-Natural to the B-2 Natural above C-2, for all female singers possesses no vibratory, resonant power what so ever . And most importantly, the resonance cavity in which these Head Voice tones are located, at the very top of all singers ranges, act as a sort of breath reservoir, from which breath flow energy can be accessed (through deep, exaggerated inhalations of air), then transported downward in the complete range, to its very bottom, and infused into each and every individual pitch. Please understand clearly that this is a longtime, very slow process, which is very unappealing to most American, who are too much in a harry but which must be highly learned, trusted, and applied. By infusing each and every pitch of the entire Chest Voices range with the force of the Breath Flow, that will yank free the old stopper which has for blocked the full and powerful force of the breath flow from traveling beyond the restrictive point of the Registers Break, and enable it to flow fully and freely throughout all singers complete ranges. Of course, all the above information represents merely a highly simplified version of the complete and full process. But I hope it will be sufficient bait, to catch a curious, failed singer and give him/her the courage and incentive to make a new start, and to finally acquire his/her dream of possessing a superior singing voice. By nature, the chest voice register is inherently and negatively thick and inflexible. These negative factors enable the vibrato action of the vocal cords, when passing through the chest voice range, situated so close to the place where the vocal cords are located, at the bottom of the range, to deceive neophyte students into believed that they can immediately utilize projecting power and tonal brilliance, with their untrained voices. This self-deception is only possible because most students are seeking quick results and readily grasp at mere potential straws of success, even when they are worthless. The fact that the chest voice registers contributes a greater percentage of vocal cords folds amplitude to the singing voice than does the thin, narrow vocal cords folds amplitude of the head voice registers, also fools many students to form inappropriate concepts of the bottom part of their complete ranges, as well as fooling many advanced singers. Before the raw undeveloped chest voice range has been restructured, by infusing all its pitches with generous amount of swirling, highly energized breath flow, which is accomplished by applying the detached falsetto u (oo) vowel exercises, it gives the neophyte student a false impression that he/she can easily produce vibrant, projecting professional sounding tones. And, that all these thick, unwieldily and hard to manage chest voice muscles and the sensations they generate, are operating below his/her tongue, can also serve as a model for

structuring his/her top range. To the contrary, highly musical students intuitively understand that all correctly produced tones are evoked and sustained by the breath force. And they are felt operating above the tongue. And, that the narrow and highly energized force of the breath force stream which is generating and sustaining them, must be titled upwards in the throat and directed towards the posterior area of the throat, and not downward, toward the floor of the mouth and the chest register. However, with faith, and thorough development, the falsetto muscles prove to be stronger than those of the chest voice. The wise singer will immediately understand that all of his/her chest tones but be converted away from their inherent thickness and bulk, and gradually transformed into thinner and narrower version of themselves, which match those of all the entire Head Registers thin and narrow factors. With correct singing, all properly mixed voice sensations are felt by the singer above his/her tongue. The inherently thin and narrow nature of the falsetto ranges muscles are quite the opposite of those of the chest voice register. Generally, the neophyte quickly forms a false impression that the falsetto voice is useless, because it lacks vibrant power and tonal brilliance. And because in its undeveloped state it communicates nothing of the level of strength to which it can be developed. However, with faith and persistence and total development , the falsetto muscles prove to be stronger than those of the chest voice. The wise singer will immediately understand that all of his/her chest tones must be converted away from their inherent thickness and bulk. They must gradually be transformed into thinner and narrower versions of their old selves, which match those of the entire Head Registers thin and extremely narrow muscular contours. All falsetto tones sensations are felt by the singer above his/her tongue. When employing the falsetto voice, the glottis, which is the opening between the vocal cords, remains open for a brief, but longer than usual duration, with every shutter-like opening and closing movement it makes. Therefore, the singer can only control the head voice tones by applying passive, indirect (breath) tension as opposed to active, direct (muscular) tension, to each selected pitch.

The illustration below shows the position of the Registers' Break for all singers, of all vocal categories.

Whenever a singer successfully executes an ascending scale without making graphically noticeable muscular changes, nor radical changes of sound qualities, he/she is operating the ascending scale under the negative antagonism which is occurring between the muscles head and chest voice registers . If this singers head and chest voice registers had been structured to an advanced level of muscular harmony, these noticeable muscular changes and radically unmusical sound would not be heard. When the singer possesses muscular harmonious vocal muscles, with both registers, he/she is continuously obliged each higher note of a rising scale away from the chest voice's muscular controls, and transferring the muscular controls of each higher note, over to the muscular controls of Head Voice's register. Thereafter and, while continued upward with the ascending scale, he/she is operating with the muscle controls of the head voice dominating every pitch of his/her complete range of pitches. These muscular maneuvers are possible to be accomplished through applications passive (breath) tension, which the vocal ligaments of both the head and chest registers enable, working as a synergistic team. Also, the singer must rearrange the vowel socket of each rising pitchs vowel throat socket. Which, when properly accomplished occurs in the posterior, upper region of the mouth-pharynx cavity, along with similarly important adjustments of the tongue and the soft palate. All of these factors need to be thoroughly understood and smoothly applied, in order for the singer, after having switched from the controls of the chest voice to the controls of the head voice, to further and successfully ascend through the pitches of the Middle Range, ascend further to the Top Range. These factors may seem overly complicated, but they are acquire gradually, one by one, basis, as the teachers creates them and explains them to the student. When correctly performing an ascending scale, it is critically important that at a specific, critical point in the ascent, the singer must completely abandon andy all all usage of the muscles of the chest voice, and switching completely over to the muscular of the head voice. The precise pitch where this switch- over technique must be applied is at B-Flat below middle C for all male singers, and B-Flat above middle C for all female singers. This particular B-Flat represents the lower doorway, or entrance into the span of the wide passaggio, for all singers.

However, it is important to understand that this critical B-flat switch-over pitch is not available at the beginning of training, nor at that specific B-Flat point in all singer's complete ranges, unless it has first been structured, and then placed exactly there. This takes a long time to accomplish, and much special knowledge. And they can only be learned through in person, direct instruction, from a master voice teacher.

For all female voices

Below is an illustration for all female singers which shows precisely where the critical B-flat switch-over pitch is situated. To the left, at the bottom of the arc line.

For all tenors, the ten half-notes of the wide-span passaggio, as presented in the illustration below, are more difficult to understand and to structure, than it is for singers of all the other vocal categories, males and females.

We remind all tenors that while all the pitches of their complete range are notated in all present-day published sheet music as represented above, the pitches of their complete range actually straddle the Registers' Break, between the bass and treble clefs. Tenors are confronted with more difficulties in their efforts to successfully structure their complete vocal range than are all other categories of singers. To carry the brilliant vibrato action of the vocal cords through their passaggio tones, then further upward in the range to the pitches of their Top Range (above F-Natural above middle C and upward), they must employ the pitches of their lower range (from middle C, downward to the bottom of their range) sparingly. Their goal is to transport brilliant, core power upward into the Middle Range, then further upward to

the Top Range, all while every tone is being generated and sustained exclusively by the force of the breath stream! While tenors are engaged in the long, testy process of structuring their Wide-Span passaggio pitches (see Fig. 2, above), their voice will remain disconnected from all chest voice power. This will result in their complete range being temporarily, but appropriately dominated by the head voice muscular controls. It may seem to them that their mission to accomplish a superior singing instrument has become a nightmare, and an unreality and an unattainable goal. Admittedly, most of all tenors earliest structuring experiences can be confusing and painfully frustrating. However, patience, faith, and persistence will allow them to achieve their goal in the end.

For Baritones & Basses

With so many chest register tones of their complete range situated below the registers' break, and so few head register pitches located above it, it is understandable why so many baritones and basses are reluctant to get involved with those fewer head voice pitches, at the very top of their ranges. However, the singing voice requires synergistic contributions from the two registers, not those of but one register, to sing properly and superiorly. This demands that the singer become fully responsible for making structurally sure that the muscular contributions of both are being addressed, with every vocal exercise, he/she applied to his/her developing vocal instrument. Without this critical synergism operating through his/her full range of pitches, he/she will unavoidably passes through a brief period of false success followed by a rapid decline, then complete failure! Most importantly, only this synergism of the both vocal registers will permit the singer to maintain the health and function of his/her voice on a high level, for the many years of a professional career. Many Baritones and Basses seem, to other categories of singers, to get off to a faster, superior start with their singing voices, then they themselves. This is because so many of the pitches of Baritones and Basses ranges are located within the borders of but one register, that of the chest register. This is because lower voice singers readily have at their disposal, without having to work hard to attain them, many pitches which possess tonal brilliance, projecting power, and often, a rich, sonorous quality. Many Baritones and Basses also appear to have superior singing diction. However, it does not take long for all of these seemingly superior attributes to gradually fade, and then completely disappear. This is due to the fact that without the participation of the head register's tones, few as they may be with all lower male voices, , the exclusive chest tones, creates a rapid deterioration of the voice. It dries out. All the incompletely structured chest tones, lack head voice help, lose their vibrancy and projecting volume, and become veiled, hollow, and difficult to manage.

For Baritones and Basses

The head voice register's primary contributions, to the chest voice register of Baritones and Basses, is that of helping them to maintain all the tones of their complete ranges fresh and youthful sounding. This is accomplished by always maintaining the free flow of the breath force throughout the entire range. This is structurally accomplished through many usages of the detached head voice i (ee) vowel, first and the many usages of the detached falsetto u (ooh) vowel, accompanied by a steady, strong, never ceasing flow of the breath force. Precisely how this is accomplished will be explained later. There exist many other important contributions which the head register grants to Baritones and Basses, such as tonal focus, core brilliance, and vocal flexibility. It also permits the singer to possess facilely used, superior sounding tones in their passaggio, plus thrilling, sparkling, squillo high tones. Squillo is an Italian word which means to blare out, in the fashion of a trumpet. Most Baritones and Basses, as well a high, thin soprano voices repeatedly make the same mistake. They erroneously believe that because the greater portion of their vocal ranges lie away from the opposite register-head voice tones for the baritones and basses, and chest register tones for the supposed coloratura, they can get by without the missing register's muscular

contributions. In my next Blog, Entry #4, we will be dealing with the structural principles and exercises of all the pitches of the Wide-Span of the passaggio, collectively and individually, and for all singing voices, of all categories, male and female singers. It is nave for a beginning singer to apply ascending vocal exercises to his/her singing voice, utilizing the raw a (ah) vowel, since doing so forces the chest voice's muscles upward in the range and into the sensitive, and easily damaged passaggio area. This causes muscular blockages and jam-ups, along the full length of the resonance channel, which are time consuming to remove. But these negative factors must be removed in order to make a new, proper start in the building of the singing voice. A new, fresh start should begin with the singer addressing the needs of the ten half-notes of the Wide-Span of the passaggio. And this new start continues afterward all the pitches of the wide-span of the passaggio, by addressing the structural needs of the Top and Bottom Ranges. _____

1.It is more advantageous to structure each and every pitche of the complete range individually, on by one to one basis, so that, if any exercise proves to be wrong and counter productive, it can be put aside, thereby sparing any other tones of the complete range from abuse. 2.The five classic Italian vowels, u (oo), i (ee), e (eh), o (oh), and a (ah), as they are pronounced by native Italians, are of major importance. This is because no particular exercise can be applied to any selected pitch of the complete range without it being accompanied by a particular vowel. 3.Most importantly, when ascending the vocal range from its bottom, with intentions of proceeding upward in the range to its very top, a basic principle must be understood. There exists, within the complete compass of the entire vocal range, two distinct and separate muscular controls, the Chest Voice, and the Head Voice. At the very bottom of the range, the chest voice can be actively and easily accessed in order to start the ascent from the bottom of the range to its very top. And while the chest voice can facilely be carried upward in the range to its highest, top border at E-Natural above middle C, doing so will defeat all the principles of superior vocal structuring. Therefore, the chest voice's overall contributions and its range of operation must be restricted to A-Flat below middle C downward for all singers, males and females. And, in order for the singer to ascend the complete range further upward than B-Flat below middle C, for all male singers, and B-Flat 2, above C2, for all female singers, the singer is obliged to make a major muscular switch from the muscular controls of the chest voice to the muscular controls of the head voice at the point of the B-Flat below middle for all singers. 4. Once the singer has changed the muscular mode of producing the tones of an ascending scale from the active muscular controls of the chest voice to the passive muscular controls of the head voice, he/she can then only control the currently sung pitch, and all the pitches that follow it, by the force of the breath pressure.

5. This is accomplished by applying different, alternating amounts of breath pressure to a selected tone in order to depart from a lower pitch and to ascend to a higher pitch. Simultaneously, the singer must adjust the laryngeal muscles at the upper, posterior area of the throat, from one vowel throat socket to the next different vowel throat socket. 6The detached falsetto i (ee) voweldetached from chest voice's power and muscular controls and the chest voice's a (ah) vowel, with different and opposing timbres which the singer can easily perceive, play major roles in allowing the singer to understand the switching-process. This process was once widely known of as The pull back, and lift upward process. I will discuss this subject more throughly in a future blog entry. _____________________________________________________________________

Thank you for you attention and patience Looking forward to our next session

Let me hear from you www.operarella@gmail.com

With much affectionAnthony Frisell

NB: All the above material has been copyrighted by S. Anthony Frisella. All rights are reserved by Mr. Frisella, domestically and internationally

Comments on Entry # 3

SJF: It is refreshing to hear a teacher in this day and age referring to the old Italian methods, and actually giving detailed explanations as to how they did it back then. Most of the teachers I have worked with in the past, freely and arrogantly toss around phrases such as "bel canto....old Italian" method and many other catchy clichs, without really going into concrete details or providing demonstrations with actual exercises that can accomplish said promise. Mr. Frisella on the other hand, is a breathe of fresh air because he not only is an established singer himself, but has a knowledge of ALL of the past great teachers and methods but has gathered the information and worded it into a specific way, so as to make it far easier to comprehend than if

one were to pick up Garcia Pre's "Hints on Singing" in the hopes of becoming a star! Maestro Frisella is urging us to pick up the fallen torch and to start anew the old Italian ways of singing, so that we may return this once glorious art form of singing and the teaching of singing to its former high and much respected status! Thank you for your vocal wisdom Mr. Frisella!

Tuesday, August 7, 2007 - 06:48 AM Seanycreature:Thank you, Mr. Frisell for the time and effort of laying out all of this information. This is a lot to think about! And it is intimidating to think of all the different components needed to build a viable voice. But it is encouraging 1. that there IS a method that will do this and 2. that a singer doesn't do it ALL AT ONCE. It's very popular to be incredibly impatient, both with learning about the voice and with building a career. But no one can deny that even the most popular and promising singers right now are fading out more quickly than singers of the past. I appreciated the attention paid to singer and vocal pedagogical history. It's the best written argument for the veracity of the method proposed here. I really look forward to your next installment. This is a volatile time - in the politics of the world and the politics of the voice! It's a chance to learn and grow.

Tuesday, August 7, 2007 - 07:11 AM John Moody:I'm looking forward to the fourth installment. I know that the wide passaggio is of great importance, but I am really confused about the lower part of the range - so I am hoping it will be addressed. I love all the Frisell writings - and almost all of them start out with the thesis that the head voice has to totally overlap the chest voice. In my own studies I struggle with the lower range. I seem to be able to carry the head voice down, but in the lower range I can't add the chest quality in the same way that I can in the upper range. I, then, am left with the choice of using a weak, diffused, mainly head-voice quality in these low tones, or a raw, seemingly uncoordinated chest voice (that knocks out the head voice contributions) My gut instinct tells me that with patience, the diffused head voice quality is preferable, and that by using it, I am strengthening my head voice, and that eventually it will be strong enough to thread the core power of the chest voice into the tone in a correct and lasting manner. Well, I have read many, many vocal manuals - and I think Mr. Frisell's manuals are the only ones that have really figured out singing. He is a genius, and I am looking forward to his next installment!

Thursday, September 20, 2007 - 06:27 PM Fernando Henriquez:Thank you very much Mr. Frisell for these wonderful articles! I am a tenor in training in Miami and, since I cannot study with you in New York, at least I am getting the benefits of reading your material. I think that common sense tells us that the voices of the past were better (in general) than today's voices. I think its is not that there was more talent, but

that the methods used to train voices were a more effective product, and the results of a long study, like you mention. Again thanks so much!

FernandoP.D. Wednesday, January 30, 2008 05:16 PM Thinking over what I have read in your Blog, I will eventually go to New York. I would love to study with you! Thanks again

Entry #4The Hole in the Middle of the Resonance Channel

Before the singing voices resonance channel has been properly and completely structured, there inherently exists a hole in it. This hole is located at a specific point all the resonance channels full length. This so called hole unavoidable enables all breath pressure to escape through it, thereby denying the singer the ability to accurately produce the pitches located within the borders of the wide passaggio. As A consequence, the confused and frustrated singers attempts to seal up this hole by erroneously bringing into play the muscles of the chest registers. This results in highly unmusical pitched being produced by forced resonance. This is very damaging to the voice, and directly opposed to correctly producing highly musical and controllable tones which are almost generated and then sustained by the force of breath pressure. The pitches that are located within the borders of this hole are: middle C, C-Sharp, D-Natural, E-Flat and E-Natural. These are the very same confusing and troublesome pitches of the vocal passaggio! It is the lack of knowledge, as how to deal with this hole in the resonance channel which has caused the low present-day standards of classical singing. This troublesome hole can be seen. Take a hand-mirror and hold it up to your face. Open your mouth widely and arrange a light to shine towards the back of your mouth-pharynx cavity. Observe the reddish-pink, rear wall of your throat. The space slightly forward of the pillars of the fauces, on either side of them and downward to the floor of your mouth, represents this same hole in the resonance channel of which we speak. While actually singing, if you possessed a properly structured singing voice, you would not be able to see the reddish-pink, rear wall of your mouth cavity. It would be sealed off by a most unusual arrangement of your tongue and your soft palate, at the rear of the mouth-pharynx cavity. With the arrangement, your the forward section of your tongue correctly forms a mound in its center and its rear section connects itself to the soft palate, which must be lowered and positioned forward, facing the front of mouth-cavity. When the tongue and the soft palate are in

these new positions, they block your view of the rear wall of your throat. These rearranged positions of positions of the tongue and soft palate, when actually singing, are required. And they and correct for superior classical singing. They can only be accomplished by special vocal exercises involving the detached falsetto version of the i (ee) vowel and skillful applications of the breath flow. These special exercises allow the singer to create a wall which plugs up this undesirable hole in the resonance channel and stops the highly energized breath flow from escaping through it. As a result, the singer is then able to properly sing all the pitches of his/her passaggio pitches, as well as all the remaining pitches of his/her complete range, on the breath flow. This little known arrangement of the tongue and soft palates is correct and it is directly opposed to the erroneous method of forced resonance produced by forcing the chest register upward in the range, in an erroneous way, in order to block up the hole. Invariably, most of present-day vocal training methods employs ascending scales that use the raw a (ah) vowel of the chest voice. This causes male singers to produce rigid, unattractive lower and upper middle tones which are shouty and unmusical, and possess distorted vowels. They are without any variations in the breath-forces dynamics, and their pitch accuracy is questionable. All these negative factors deny the singer correct access to the vocal passaggio and all the head tones that are located above it. Invariably there is too much improper, negative tension operating throughout the singers complete range. With most female singers, the range from E-Natural above middle C is thin and muted, without proper vibrations and exhibiting unclear vowels. The faulty tones lack proper breath tension. Therefore, there is no projection of the voice out into the audience until after the singer has past the upper passaggio at E2-Natural. With both male and female singers, the structurally unfulfilled tones of the passaggio and the pitches located within the area of hole in the resonance channel do not allow the singer to properly produce a full array of tones from the bottom to the very top of the range. His/her efforts are thwarted by the hole in the resonance channel, at the area of the passaggio. The singer loses hope of achieving evenness of range, clear vowels, total control of all the breath dynamics from the softest fil di voce (a soft thread of voice), to thrilling squillo high tones that are beautiful and blare outward over the orchestra toward the audience in the manner of a trumpet. When properly structured, and while actually singing, all superior singing voices demand that the singer maintain a proper breath tension throughout his/her complete range. Of course, when stopping to take a new breath, this tension is momentarily inoperative, but it must be immediately reapplied when the singer begins to sing again. The confusing and troublesome pitches of the passaggio, where this hole in the resonance channel is situated, are located at different areas in the complete ranges of all male singer, than where it is located for all female singers. For all male singers, the hole in the resonance channel is located toward the upper middle area of their complete range. And for all female singers, this hole is located at the bottom of their complete range.

Most female singers claim they possess two vocal passaggios. One, at the lower end of their complete range, and a second one, their upper passaggio, located at the upper middle section of their complete range. This concept is not accurate, since for all female singers, their the true and only vocal passaggio for all females is their bottom passaggio. In most cases, most male and female singers avoid dealing with the difficulties of their passaggio tones, This is because very little useful information is currently being presented to them which actually allows them to accomplish the difficult and time consuming task. Instead, their lack of effective structuring methods training forces them them make many compensatory adjustments to their inadequately structured voices. One example is, exercising the voice with but one of the five classic Italian vowels exclusively, for a certain period of time, while excluding the other four vowels, whereas proper vocal structuring utilizes all five vowels during all phases of training. Or, they play down the volume of one particular section of their range fir a while and instead feature another more functional section of their range, until their voice breaks down again. Then, they seek out new compromises and exclusions. When they run out of all these exclusions and compromises, they finally give up all hope of becoming a professional singer. Now lets go back in time, to just after the bel canto period, when the dramatic repertory of Italian verismo, and the German Helden or heroic compositions of Richard Wagners operas first made new, greater demands upon the singers voices, and when many other radical changes in vocal training principles and practices occurred. These new schools of vocal training were forced to find new ways of training larger and more projecting singing voices which were capable of producing more vibrant volume, in order to cope with the increased volume of larger orchestras of the new, dramatic repertory. The new question for the teachers of these new and experimental schools was, where and to what physiological component of the human anatomy can we turn to accomplish this need for more projecting vocal power? The answer was obviousthey turned to the chest register! As a consequence of trying to add more chest voice power to the complete ranges of singers of all vocal categories, the confusing and troublesome registers break boldly manifested itself and caused great problems in structuring voices that would possess a beautiful, smooth equal quality throughout their entire ranges. Great vocal training problems soon followed, such as What does this troublesome passaggio need for us to fix it, and where it is actually located? What is its purpose? Can anyone ignore it? Many frustrated singers and teachers claimed outright that the so-called passaggio does not exist because nature and human physiology gave no evidence that actually. The entire teaching profession was in an uproar. There were too many questions asked which that had no plausible answers. But one thing was perfectly clearly to all. The new dramatic repertory had struck a fatal blow to the training principles and practices of the old bel canto period. Slowly, thereafter, there emerged two new schools of vocal training that could successfully produce singing voices with greater projecting volume than those of the earlier bel canto period. The first successful new school started in Naples, Italy. And later on, its successful principles and practices were brought to new heights of perfection in Paris during the early 19th century,

with the teaching of Jean de Reszke and Giovanni Sbriglia. Then tragically, there came the lst world war. The 1st world war brought chaos to most major European cultural operatic centers. With them, the principles and practices of the Naples and Paris school of voice training had been greatly accepted and had flourished, since they had produced so many great singers. However, after the 1st worlds war ended, many highly competent voice teachers who had enjoyed successful singing careers, due to the Neapolitan and Paris Schools of vocal training, flocked to New York, London, and Rio de Janeiro. There, they set up their own vocal studios and passed down many of those Neapolitan and Paris schools principles to many singers from all over the world who flocked to the above mentioned cities for vocal training. Then came the Second World War. After it had ended, most of Europes culture and operatic centers were in shambles and the desire for art could not compete with the need for food and shelterand survival. Therefore, unlike the 1st world war, when many former great opera singers and voice teachers flocked to America, and taught so many great American singers, few of their like came to America, after the Second World War. That was the post-ward period of Tom Brokaws Greatest Generation book, and the rise of the Corporate State, which depersonalized the American society and transformed it into a greatly homogenized, monolithic, passive consumer society through the medium of Television. During this period, life suddenly accelerated to a hectic, carefree, reckless pace of existence. Practically everyone willingly and unquestioningly converted to this new, seductive, totally selfinvolved mode of life. Virtually everyone and everything succumbed it break next speedy waysexcept art! This was especially true of the art of classical singing. It loved to languor and dreamily crawl along at its own slow pace. But to the new, great, chosen generation, the demands of dedication, time, and money which all serious art made seemed to require an eternity to accomplish. And students demanded that all training programs be adjusted, trunked and speeded up, and to cost less. But True Art could not be compromised, and was stubborn. It could not be made to rush! It could not be commandedit did all the commanding and demanding! And art declared to everyone, If you wish to woo me and win my favors, then you have to obey my laws. But new generation belittled art and its unrealistic, not guaranteed demands for their total commitment, with out rigid guarantees! So, instead, the New Great Generation embraced and married Pop Culture. What a tragedy! Rapidly thereafter, new, clever, speedy voice teachers, and other teachers, in almost all other serious fields of endeavor, emerged upon the scene. Where classical singing was concerned, few of its new-approach teachers themselves, had every accomplished singing even a simple song, or a few phrases of a challenging operatic aria,

much less a complete operatic role, nor enjoyed a professional singing career. Nor did they have any interest in exploring and learning the vocal training principles and practices of the great historical vocal teachers of the past, who themselves had had highly successful classical singing careers. By comparison, These great singers of the historical past, after retirement from their great operatic careers, set up their own teaching studios and struggled long and hard to sort out and solve all the puzzling idiosyncrasies of the classical singing voice. And by stark contrast, the new-approach teachers brazenly sat down at the piano with hubris and immeasurably arrogance and declared, Come, let me show everyone how this classic stuff how is technically doneand in no time. I agree with all of you, that the old school of voice training took far too long. Huh! I can accomplish the task in practically no time, but mind younot cheaply! I could now present to you a long list of what this new breed of voice teachers skipped over and/or threw out of their teaching practices, of the tried and proven, empirical training practices and principles of the past great voices teachers. But that would be a waste of time, and would probably fall upon deaf ears. The new, nave voice students of this fast period of vocal training, anxious to enjoy a glamorous and financially profitable singing career, could not have cared less what training method their teachers where subjecting their voices to. The most significant and basic principles which this new school of voice teachers discarded were those that dealt with the nature and functions of the two separate and antagonistic vocal registers, the chest and head voices, and the difficult and confusing problems of the Registers Break area and the pitches that surrounded the passaggio, and how to solve them. They also did away with the invaluable understanding and applications of the five classical, Italian Vowels. This was so because they quickly learned that in order to employ all five vowels to a students unstructured voice and get positive results, they had to possess complete knowledge of how each individual vowel exerted its influences upon the singers vocal instrument, mentally and physiologically. And equally important, they had to know precisely when and why (during the long, progressive period of structuring a singing voice), and precisely how to apply a particular vowel, and when to temporarily withhold its use. They likewise had to know how all the vowels changed in sound and muscular influence when applied to different sections of the students complete range, as they are slowly being artistically shaped in the singers throat, into near perfection. Despite all the above criticisms, we concede that nature and the physiological components of the classical singing voice (what the old Italian voice teachers called the Vocal Organs) do not easily communicate their structural needs in clear details to any would-be, superior voice teacher. Nor to any highly disciplined, dedicated vocal student. Nor how to transform an undeveloped, amateur voice in to a superior professional one.

No, indeed! The truly sincere, potentially competent vocal teacher, despite being sincere, intelligent, musically qualified and highly disciplined has to first have studied long and hard with a master teacher in order learn all the required principles and practices of voice building. They must very slowly accomplish all that, while on the job, so to speak! Only then may he/she modestly and humbly dare to sit down at the piano and take the students untrained voice into his/her charge. To the hopeful, expectant voice student, his/her singing voice is the most precious, sacred thing in the world. When I think of the damaged conditions of the voices of most newcomers who have presented themselves to me in the past and recently, I often wonder how many present-day voice teachers ever consider that fact. When most contemporary vocal students perform an ascending vocal exercise and they arrive at middle C (which represents the first, lower pitch of the unstructured passaggio), they unavoidably encounter, at that middle C pitch, a hollow, breathy abyss which is the hole in the resonance channel with which this blog in essentially concerned. To the singers disadvantage, all the pitches of a rising scale that are located below this middle C point in the range, easily communicate to the student a solid, tangible method of producing all his/her lower pitches, below this Middle C point. But once the student attempt to pass above this middle C point, all tangible, solid feelings, which had been felt below middle C immediately vanish. The student becomes immediately confused. He/she asks him/herselfwhat should I do now? Without proper guidance, the average student will unfailingly reach downward in the range for the inappropriate and damaging chest registers muscle. Then rigidly gripping them, he/she will inappropriately push the solidity factor of the chest voice upward past the critical middle C, which represents the lower entrance of the unstructured vocal passaggio. Feeling confident that the right move has been taken, the student is highly unaware that he/she has erroneously executed his/her first major vocal structuring mistake. From then on, by repeating this same mistake for a second, thirdtenth, and possibly the hundredth time, it is unlikely that this student will ever succeed in achieving his/her goal of possessing a superior singing voice. Even later, when these mistakes are discovered and explained, and new directions and solutions are sought, success may remain illusive. because, without precise knowledge of how to undo all the earlier vocal mistakes caused by forcing the chest voice upward in the range, the chances of these students learning the correct method of ascending the range from its bottom, correctly ascending further upward and past B-Natural pitch below middle C, then ascending further upward in the range and passing correctly through the vocal passaggio to the top range without knowing and applying the correct method of applying the energy of breath force, success with all new ascending scales is not likely to be to occur.

Even if this naive student had been clearly advised that all tones of the passaggio must be produced exclusively, without sealing off inherent hole in the resonance channel, with all of his/her wide passaggio tones, it would not have been possible for him/her to establish and maintain the various amounts of highly energized breath tension, required to accurately produce each of the difficult to structure passaggios five half tones of(presented to my readers here again, to reinforce the principle) middle C, middle C-Sharp, D-Natural, E-Sharp and E-Natural. The breath tension required by any and all of these particular pitches would have been immediately dissipated as the breath arrived at the point in the the complete range where hole in the resonance channel is located, then immediately escape, by gush through the hole in the range, and out of the singers mouth! Prior to correctly structuring of the total resonance channel, all singers possess this hole in their resonance channel, due to the inherent physical structure of the mouth-pharynx cavity. The hole embraces the pitches of middle C, C-Sharp, D-Natural, E-Flat, and E-Natural. Since no one has offered a sound explanation nor usable solution to the problems caused by this hole, many incorrect, highly damaging methods to overcome the holes negative influence have been tried, but they have all failed. The most common, mistaken solution, is for voice teachers to instruct the student to first push his/her chest voice muscles upward to middle C, then push it further upward in the range, and into the remaining pitches embraced by the hole, C-Sharp, D-Natural, E-Flat, and E-Flat. For a short while, some singers, usually those with lighter voices, doing the above seems to have solved the problems of their passaggio pitches. But soon thereafter, the tones located just above the registers break, from F-Natural above middle C upward in the range to its top, start to malfunction. Then, the entire middle voice collapses. With male singers, all the notes above E-Natural above middle C become unavailable. And for all female voices, all the pitches from C2 to the F-Natural above it become hollow and dysfunctional, and in many cases they begin to wobble. I know this is all very discouraging news. But dont despair since, from this point forward, since we will proceed more rapidly now, in presenting all the necessary idiosyncratic solutions to these problems. They will allow anyone who is ready to make a new start, and highly motivated to succeed, and is patient and persistent to completely overhaul all the pitches of the his/her Registers Break. We present these pitches once again, to make a deep impression upon my readers: These critical five half-tones of Middle Range are: Middle C, C-Sharp, D-Natural, E-Flat and E-Natural, plus several border-pitches which are situated just below the passaggio, and several above the passaggio, which have led me to rename this troublesome area of the complete range the wide-passaggio! Rubbing Elbows With Super Great Opera Singes

As a young operatic stage director, I enjoyed the privilege of hearing such great singers as Zinka Milanov, Leonard Warren, Mario Del Monaco, Nicola Moscona, Norman Treigle, Richad Tucker, Jan Peerce and Victoria de Los Angeles (to mention but a few), at very close range, for days at a time. I was fascinated by the beauty and the wide range of dynamics of their voices, the clarity of their vowels, and the highly kinetic movements which they commanded their vocal organs to accomplish, while they were singing a particular aria, or one of my favorite operatic phrases. All their above mentioned accomplishments stand in stark contrast to even the best of contemporary singers, with whom I observe very little movement of their poorly trained vocal organs (the many smaller, separate individual muscular sections that make up their complete range). In placed of their vocal wonders, I observe an annoying stillness to their vocal organs and a monotony of vocal sounds which they visibly struggle to produce which lack interesting tonal colors and little of any interesting volume dynamic accents, nor variations. And, as for most contemporary female singers lower ranges, and male singers upper middle and top ranges are concerneddo these singers believe that no one notices the missing those, critically important missing sections of their complete ranges? Surely, the great Giuseppi Verdi was not artistically miss when he composed his great, Shakespearian-like operatic masterpieces which were enriched with the awesome and thrilling vocal sounds that almost all contemporary singers seem incapable of producing for us? Because these present-day singers passaggios have rarely been properly and completely structured, all their vocal organs appear to me to be straight-jacketed. During the long and testy period of creating a superior singing voice, one must maintain complete flexibility of all The Vocal Organs! Here is what the great Manual Garcia had to say about this in his book, Hints on singing: The pathway of sound, being formed of elastic and movable parts, varies its dimensions and forms in endless ways, and every modificationeven the slightesthas a corresponding and definite influence on the voice.

The Tongue and Soft Palate Are the most Flexible and Adjustable of all the vocal organs.

When not in and act of eating, swallowing or talking, the tongue seeks a resting position in the lower throat channel. While singing, in order to employ the tongue as solid substance for creating a wall that will seal off the hole in the resonance channel and prevent breath pressure

from escaping through it, the singer must lift the tongue must upward from its usual resting place in the lower throat channel, and place into the mouth-pharynx cavity. This is accomplished, while under the guidance of a superior voice teacher, by employing the detached falsetto version of the i (ee) vowel. A detached falsetto tone is one that has no connection whatsoever to the power of the chest voice. It can only be properly accessed at the very top of all singers ranges, from F-Natural above middle C upward in the range, for all male singers, and F2-Natural above C2-Natural and upward in the range, for all female singers. This is the head voice, or detached falsetto range for all male singers, and the head voice, or whistle voice for all female singers. Another important factor about this special, detached falsetto i (ee) tone when using it to structure the wide passaggio pitches, is that it must be fitted into the center of a fully open throat position of the head voice (ah) vowel socket. This is required in order to avoid employing the chest voices i (ee) vowels socket socket, which is essentially a closed throat position, and damaging to the voice. The chest voices i (ee) vowel will immediately cause rigidity of the lower jaw, block off the force of the breath stream, and immediately defeat the entire purpose of the forth coming exercises. Heres what the great Italian tenor Beniamino Gigli had to say about this: The i (ee) vowels on the low and lower medium notes are narrow sounds. But, when ascending the complete range, and when passing above B-Flat below Middle C, for all male singers, and B-2 Flat above Middle C, for all female signers, the i (ee) vowels throat socket must be given ample space for development, just as if it were the same aperture as the a (ah) vowels throat space, providing ample throat space for of tonal amplification. This particular i (ee) of which we are speaking, is evoked then sustained primarily with the mind and the will (cervella e volont) of the singer. During the long and slow restructuring process of the wide passaggio, from G-Natural pitch above middle C downward to the B-Flat below middle C, for all male singers, and B-2 Flat, above G2-Natural above C2 for all female singers, the open a (ah) vowels throat position must be carried downward from the top of the range to the B-flat just mentioned above, in the previous paragraph. This i (ee) bowels throat position must based upon the open a (ah) vowel, when singing from this particular B-flat, upward in the range to its very top. Every time the i (ee) vowel is sung with any and all the tones of the wide passaggio, it must first be fitted into the open space of the a fully open-throated, head voice a (ah) vowel. There is another critically important factor regarding this particular detached falsetto i (ee) vowel, where the process and goal of sealing off the hole in the resonance channel is concerned. The selected pitch of this particular i (ee) vowel that it must first be generated exclusively by a strong flow of the breath force, then totally sustained by that same level of the breath force for the entire time it is being sung. As a structural tool, what this particular detached falsetto i (ee) vowel can accomplish for the singer is to attach itself to the muscles that control the tongue. This will allow the singer to lift

the tongue gently out of its resting place, in the lower throat channel, and then relocate it inside the mouth-pharynx cavity. During this process, the breath force must never stop flowing for a single second. The lower end of the tongue is attached to the hyoid bone which acts as a protective anchor for it, while still allowing the tongue great flexibility of movement. During the process of relocating the tongue from its low resting place and inside the mouth cavity, using the detached falsetto i (ee) vowel, the hyoid bone will immediately communicate to the singer, if and when the singer is putting excessive pressure on the lower end of the tongue, and it informs the singer, by easily understood sensation, stop exercising his/her voice, with this particular i (ee) vowel for a while, and give it a rest. After resting the voice, then continuing to exercise it again, and while moving the tongue from its resting place and then into the mouth-pharynx cavityonce the tongue has been placed into the mouth cavity, there will be an excessive amount of the tongues bulk, which the mouthpharynx is too small to comfortably accommodate. Therefore, the middle section of the tongue will automatically form itself into a mound which imitates the curved shape of the hard palate, situated immediately above it. Simultaneously, the tip of the tongue will automatically position itself downward and forward, behind the lower front teeth. During this entire process, the singer cannot precisely nor immediately understand how to accomplish all the factors that are involved, and what the results will be, when successful. That only comes later, when applying various exercises that are appropriate to this accomplishment. However, after the singer has learned how to properly evoke and apply this specific i (ee) vowel, he/she will come to clearly understand how and why only this specific i (ee) vowel can inform and control the tongue and the soft palate, simultaneously. Only this specific i (ee) vowel can instruct the tongue how to behave and adjust itself in order to compensate for the lack of available space for it within the mouth-pharynx cavity. And how to moved the soft plate downward, at the rear of the mouth-pharynx cavity, then to face it forward toward the front of the mouths. The above is only a limited preview of what will be expected of the tongue in order to utilize it as substance solid flesh material to create the bottom half of the wall that will seal off the hole in the resonance channel. Projecting forward, further in this process, the singer should know in advance that the tongue, when fully and properly utilized for the purpose of sealing off the hole in the passaggio, contributes only 50% of the solid flesh material to successfully accomplish this task. The remaining 50% will be contributed by the soft palate. The correctly produced detached falsetto i (ee) vowel will also precisely and simultaneously attach itself to the soft palate. It will instruct the soft palate of its duties and movements, and the precise amount of solid flesh material which will be used by the singer to create the upper-half of the wall in order to seal off the hole in the resonance channel.

In America, for more than fifty years now, most singers have been unable to sing a clear, vibrant, beautiful i (ee) vowel tone in any section of their complete ranges. This is because their voices are wrongly orientated to produce all five vowels based upon the ways they are formed with the muscles of the speaking voice, when actually speaking. Of course, this is a colossal mistake. Finding and utilizing the correct detached falsetto i (ee) vowel is critically related to how the singer does or does not understand how to correctly and masterfully apply the force of the breath, in order to evoke any/or all the tones of his/her complete range. We will go into this matter in greater detail later on.

Here are some important facts that you should know about the i (ee) vowel.

Presently, few if any contemporary voice teachers use the i (ee) vowel in their vocal exercises, while invariably almost all of them use the wrong, raw chest voice version of the (ah) vowel. Nor, for that matter, do they use the u (oo) vowel in its correct form, if they can avoid doing so. And strangely, no one seems to take notice of these preferences and/or exclusions of certain vowels, or questions anyone of authority as to why this is so. However, it must be understood that all five vowels, based upon the way they are pronounced by native Italians, and produced by the breath force, must be used to structure a superior singing instrument. This is so because each vowel makes it own particular contribution to the total process, and to the selected pitch to which it is currently being applied. And it is very important to understand that each individual vowel exerts its own particular influence upon the actual process of singing. The failure of contemporary voice teachers to produce great singers is also due to this lack of understanding about the five classic Italian five vowels, and what their contributions and effects are upon the building of a superior voice, and actual singing. Here is a list of several major voice teachers from the recent past, who strongly advocated that the i (ee) vowel played a major role in the voice structuring process: Freida Hempel, Leo Slezak, Enrico Rosati, Paul Althaus, and Beverly Johnson. However, none of the above individuals ever precisely explained to anyone, nor wrote down, how their concepts of the i (ee) vowel were to be used, nor presented us with particular exercises for its application. Enrico Rosati who was reportedly the New York voice teacher of Gigli, and also Mario Lanza for fifteen months, just prior to Lanzas departure on April 14, 1947 to fulfill a concert in Shippensburg, which Columbia Artists Management had booked for him. Later on, when Lanza went out to Hollywood to begin his highly successful movie career, which many thought destroyed his chances of becoming a great opera singer, Lanza begged Rosati to come out to Hollywood to continue teaching him. But Rosati declined, saying that he never followed the

great Gigli about, so why should he follow him. Lanza greatly admired and respected Rosati and accepted his decision. Later on, Lanza sent Rosati the following note: To Maestro Enrico Rosatiany success I am having or will have in the future I owe 100% to you, the greatest undisputed voice teacher in the world, past, present and future. I love you and you will always be close to me wherever I am, or in whatever I do. Especially on the stage, since you will always be there with the third register. All my love for you, Maestro. Mario Lanza I know that Rosatis third register, was, in fact, the developed falsetto voice, attained by applying the detached falsetto i (ee) vowel to the entire vocal range, in a specific manner, because Mario Lanza, himself, told me so. The Soft Palate The highly flexible and adjustable soft palate possesses a potential to form the upper half section of the solid, flesh material required to create the wall that seals off the hole in the resonance channel. This wall stops the breath force from escaping (while moving in a forward direction), towards towards the lips, and then through the mouth-pharynx cavity, then fully out of it. Some voice teachers who are somewhat aware of the fact that the soft palate plays an important role in structuring a superior singing voice erroneously instruct their students, while actually singing, to raise their soft palate upward and make the pillars of the fauces (the curtain like sections, to the right and left of the soft palate), to form a Gothic arch, as we often seen in many church windows. This must not be done. Doing so will immediately and completely block the breath force from freely passing through the passaggio tones, then traveling further upward in the range and arriving at the head voice and sinus cavities resonance chambers, all of which are important factors for the singer to produce superior high tones. It must also be known that the soft palate does not remain in the lowered and forward position, facing the front of the mouth, when all singers descend the range from it top and pass below the Bf situated below middle C to all the remaining pitches of his/her range below this particular Bf. With the tones below this particular Bf, the soft palate must be allowed to move backwards again, in the rear section of the mouth-pharynx cavity, to its preferred resting place. But it must never be allowed to become rigid and inflexible. When the pillars of the fauces have been incorrectly made to form a Gothic arch, that erroneous position (besides blocking the passageway through the passaggio and further ascent to the top tones), gives the lower octave of the voice an artificially dark timbre. As a consequence, many students are inappropriately placed into a lower vocal category than is their true vocal category. Now lets explain how the tongue, when lifted out of its resting place in the lower throat channel and then relocated within the mouth-cavity will come to represent the lower section of the wall that stops the breath force from dissipating and escaping through the front of the mouth.

The soft palate, when lowered and moved forward and facing the front of the mouth cavity, will come to be upper section of the wall that stops the breath force from dissipating and escaping through the front of the mouth. When applying a breathy, detached falsetto i (ee) vowel, one that has no relationship whatsoever to chest voice power, to a pitch above the registers break, preferably a Gn (a tone which is being produced exclusively by the force of breath power, and making sure that that this particular falsetto i (ee) vowel has been placed in the center of a pre-arranged position of a fully open a (ah)s throat space), then, and only then, will the i (ee) vowel simultaneously attach itself to the muscles that control the tongue (from below) and also attached itself to the muscles that control the soft palate (from above). Thereafter, the singer must slowly and carefully increase the volume of this specific, detached falsetto i (ee) vowels pitch, by swelling it in the manner of the messa di voce. Accurately accomplishing this task will bring the muscles of both the tongue and the soft palate together in a close and harmonious manner that completely seals off the undesirable hole in the resonance channel. This allows the singer to properly apply the required amount of breath tension to any and all tones of his/her complete vocal range. This is especially true for the critical tones of the passaggio where the hole existed before the bound together tongue and soft palate sealed it completely off. Thereafter, when the energized breath force reaches the pitches of the wide passaggio, Bf and Bn below middle C, middle C, plus Cs, D n , Ef, and En, that energized force of the breath, essential to creating and sustaining all these above mentioned pitches, will no longer be able to escape and incorrectly exit through the front of the mouth cavity. Finally, with the hole in the singers resonance channel completely sealed shut, the singer will be able to produce beautify, highly controllable, superior tones. To extend the i (ee) vowels positive influences upon all the tones of the wide passaggio (the pitches of which areGn, Gf, Fn, En, Ef, Dn, Df, and middle-C, plus Bn and Bf below middle C), all these detached falsetto i (ee) vowel exercises must be applied from the top note of the wide passaggio, Gn above middle C, in a descending direction exclusively, for quite a long time. Understand that the above information gives a mere preview. This has only been a rough sketch of what this complete procedure is capable of accomplishing, and will be expanded upon and clarify later on, in my following blog entries. But until then, here are some informative thoughts to dwell upon. Initially, the muscles of the tongue and soft palate, when placed in these new positions cannot yet withstand the increases of breath pressure that are needed to produce the remaining vowels of e (eh), o (oh) and a (ah). The singer must eventually fulfill the development needs of all of them, and when possible, in the same order in which they are presented above. While they use the same principle of swelling the selected, detached falsetto i (ee) vowel tone to develop, using the messa di voce exercise, each individual pitch must be exercised in the same descending order as presented above. As each individual vowels muscular controls strengthen, the muscles that control the tongue and soft palate when they are tightly bound together in the manner described above in order to seal the hole in the resonance channel, also develop in strength. Now, finally, they can totally resist

and sustain the maximum amount of breath pressured being applied to them. Thus, the singer can successfully sing in a dramatic manner frequently required by the popular, present-day grand operatic repertory. This means that the singers now developed voice can successfully sustain all the challenging muscular rigors of a professional singing career. The detached falsetto i (ee) vowel which begins this structural journey is the starter vowel. It possesses an uncanny potential for precise alignment of the voice and creates precise muscular alignment and harmony between the two unruly, antagonistic vocal registers. It also reveals to the singer the perfect pathway of the breath force as it travels from the bottom of the singers complete range, enters into the dark, blind tunnel of the vocal passaggio (which is extremely thin, when finally and completely structured). It then rises above the passaggio notes and arrives at the top range, which, when perfect, become the crowning glory of the singers art, along with a perfect fil di voce, or a ravishing soft, pianissimo tone, spinning gloriously around on top the breath forces energized beam. The singer must understand something very important about applying the i (ee) vowel exercises. After using them for a day or so, they must be put aside and the voice must be given a day or two of rest. This is so because the i (ee) vowel tends to temporarily block the flow of the breath force. After resting the voice and returning to exercise it, the singer must exclude the i (ee) vowel for a day or two, and use only the u (oo), o (oh) a (ah) vowels, which will gradually restore the full, fluid flow of the breath force throughout the singers entire range. Also understand that you cannot properly evaluate what influence a particular exercise has had upon your voice in the same time period that it is being performed. You must wait a few days to learn those facts. The illustration below shows the manner in which the tongue and soft palate must be repositioned by the singer away from their natural positions, and brought into extremely close contact with each other. Once there, they must be held firmly together while the singer is singing a particular passaggio tone and its accompanying vowel. This is done in order to seal off the hole in the resonance channel which would allow the breath force that is generating the tone to escape through the front of the mouth, causing the tone presently being sung to collapse. This phase of this long process, as it has been presented above, is meant to represent the singers first encounter with just a few of the principles and practices of this difficult and unusual voice structuring task. It cannot be accomplish quickly. And, it can be very testy and frustrating, and the singer can easily become discouraged. This is not an assignment for the faint of heart, nor anyone who is not prepared for total, unconditional, passionate devotion and fidelity to this ideal.

Be informed that this process is a serious undertaking It will completely alter the physiological arrangements and behavioral patterns of certain muscles that generate the singing voice. Once you have embarked upon this undertaking, your old, familiar voice will gradually vanish, but your new one will not appear, nor be clearly or fully revealed to you for quite some time. When considering the initial condition of your individual voice at the beginning of this process, you will understand why no one can precisely predict the length of time you will be obliged to travel in fear and doubt through this dark time-tunnel of doubt and frequent discouragement. However, if you do enter into it, it will serve as a test of your courage, fortitude, will, and

character. And, if you have what it takes, you will eventually emerge from this dark tunnel into the glorious light of success and fulfillment. This is what the late, great tenor, Luciano Pavarotti, told Jerome Hines about the passaggio, in Mr. Hines wonderful and informative book, Great Singers on Singing. Luciano Pavarotti: Now this passaggioJerome Hines, (cutting in on Pavarotti) Is the transition from the upper middle voice to the high voice, and I know that students are interested in your approach, since you have a flawless passaggio; it is so smooth a change, one is not aware of it. Luciano Pavarotti: It took me six years of study, and one must be convinced of its importance from the first day . . . never change ideas. You know, the first five or six months it is very depressing because it does not come out right, and you become cyanotic, red in the face. Then the student begins to think this approach is wrong, and tries the other way, but it will never bring them security of voice. The End of this Blog Entry _____________________________________ Relative to the above blog, you may want to read my vocal manual The Art of Signing of the Breath Flow, I am in the process of obtaining some copies of the book, plus copies of A Singers Note book. More than three years ago, my publisher, Banrden Books.com made a agreement with Google to make Eleven of my book available to the public as E-books. You can check with Google Book Search. Type into the search window Books by Anthony Frisell. Or, Novels by Anthony Frisell. If Anyone manages to buy one of my books, please give me a phone call 212-23385 and let know that you have suceeded in doing so. _______________________________________________________________

Thank you once again for you attention and patiencelooking forward to our next session Let me hear from you www.operarella@gmail.com. If you wish to speak to me, leave me your telephone number and when I have a few free minutes free from my busy schedule, I will call you. With much affection Anthony Frisell NB: All the above material has been copyrighted by S. Anthony Frisella All rights are reserved by Mr. Frisella, domestically and internationally

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Comments for Blog Entry #4:

SJF: Thanks again maestro Frisella, for being so generous with your knowledge and your time. Also, thank you for being one of the few, in fact the only teacher I know these days, who tells it like it is and doesn't promise miracles or quick fixes, but rather shares the long and tedious but rewarding reality that serious voice study is. I hope this blog is the beginning of the new American school of voice! Tuesday, September 25, 2007 - 03:51 PM

Opera Poetic: Bravo, Mr. Frisell!! Well articulated truths in the midst of this dark ages of singing in which we live. Please continue to inform and enlighten us with your knowledge and insights!

Monday, October 1, 2007 - 08:54 AM Blazing Tenor: Thank you! As a singer, I will study your blogs to further my own struggles to resolve my passaggio issues. This is a very difficult topic but one that speaks to the core of what plagues many singers. I really appreciate your thoughtful and articulate writing on this subject. Monday, October 1, 2007 - 09:01 AM Anonymous: It brought tears to my eyes when I read "To the hopeful, expectant voice student, his/her voice is the most precious, sacred thing in the world.... I often wonder how many presentday voice teachers ever consider that fact" It is clear from this writing as well as all of your others that you care deeply, have vast vocal knowledge and the ability to impart it in a manner that is assessable. For those singers who's desire is so very great, true knowledge and understanding of the instrument and it's structure so very limited and hope nearly lost. I thank you. Sunday, October 7, 2007 - 10:21 PM

Msopera: Thank you, Mr. Frisell, for following your passion for presenting unparalleled insights into the

development of the vocal instrument. In addition, thank you for your patients while fulfilling a promise to shine the light of truth upon the many inaccuracies of assumption and ignorance that strangle the emergence of the pure singing voice Wednesday, October 17, 2007 - 06:13 AM

Entry #5The Relationship of Vocal Exercises to the Five, Classic Italian Vowels, and to the Motor Force of the Breath
Presently, practically every voice teacher is indiscriminately and almost exclusively using the damaging raw chest voices a (ah) vowel and ascending scale exercises to train their vocal students voices, without questioning the purpose, or the actual results they will have upon them, in the near future. The raw chest voice a (ah) vowel, and counter-productive ascending scales are applied, whether the student is a beginner, or a professional, with vocal problemsin other words, they all get the same rote treatment!! This approach to vocal training is radically incorrect. Voice teachers and vocal students who do not utilize the structural contributions of all five of the classic Italian singing vowels, are ignorant of what the four vowels, other than the a (ah) vowelthe u (oo), i (ee), e (eh) and the o (oh) vowelscan accomplish, nor can they technically interpret what these same vowels progressive benefits will have upon the muscular behavior and quality of a selected pitch, because, with advanced development, the quality these vowels sounds are continuously changing. A correct approach to vocal structuring deals with each and ever pitch of the singers complete range individually, and on a one-by-one basis. All the pitches of the singers complete range must be structured individually, if they are to be transformed into a superior singing voice While actually singing, each individual pitch must be capable of producing its own precise vocal cords vibrations, which is different in numbers, than all the remaining pitches of the complete range. When that has been completely accomplished, which takes quite a bit of time, the final result is that each individual pitch has become structurally differently from all the remaining pitches of the singers complete range. But, at the same time, each individual pitch is completely harmonious with all the remaining pitches of the complete range. Look into your pianos resonance chamber

The above principle, that each pitch of the singers complete range inherently possesses its own unique individuality, may be more clearly understood by lifting the cover of a grand pianos resonance chamber and carefully observing the physical differences between all the metal strings that produce the pianos complete range of pitches. At the lower end, the metal strings are long and thick. They produce the pianos lower pitches. At the opposite end, we see the thinner and shorter metal strings they produce the pianos higher pitches. Ascending upward in the range from the bottom strings, passing through the middle sections strings, and arriving at the strings which produce the high pitches, reveals that a gradual, precise, incremental change of each strings basic shape has occurred, from long and wide, to thinner and shorter. Now, sit down upon the piano stool, before the instruments keyboard, and with your index finger, plunk out, pitch by itch, an ascending, chromatic scale. As you do so, listen carefully and notice the different sound timbre of each higher tone. The pitches at the bottom of the range

possess a dark or somber timbre. But gradually, these timbres get brighter as your index finger moves toward the top keys, which possess brighter and more metallic timbre sounds. This is so because each metal string has been precisely and mathematically cut and shaped to satisfy its individual thickness or thinness requirements, for the low notes. Or conversely, for the higher notes, their length or shortness requirements. These factors create and satisfy each individual pitchs precise mathematical differential, with respect to all the remaining pitches of the instrument. If you were to mistakenly install two piano strings which possessed the same thickness/thinness factors, or same length/shortness factors, your piano would then possess two strings which, when struck, would produce the same pitch. This, of course, is undesirable. Now, with all singing voices, male and female, of all vocal categories, a similar mathematical calibration of each individual pitch must be taken into consideration and satisfied. However, all ascending scales, employing the raw chest voices a (ah) vowel, and without the continuos energy of the breath flow producing it, immediately denies and overrides each individual pitch of all singers complete ranges, thickness/thinness calibration requirements. Try to understand clearly that, these above requirements, for each and every individual pitch of all singers complete ranges must be fully acknowledged and dealt with, from the very beginning of vocal training if the goal is to structure a superior vocal instrument. However, an incorrectly produced ascending scale, that is applied to the singing voice, while using the chest voices raw a (ah) vowel, will immediately defeat the critically important process of correctly accomplishing each individual pitchs proper and appropriate structural needs. When any singer, regardless of his/her individual vocal category, endeavors to sing an accurate ascending scale or vocal phrase, from the bottom of the range to its top, each new, higher pitch of that ascending scale must be capable of accomplishing incremental pitch differentials. This is not only a musically aesthetic principle, it is also a critical mathematical requirement as well. The relationship of five classic Italian vowels to vocal exercises

The five classical Italian vowels, as they are pronounced by native Italian singers while they are singing, play a major role in structuring a superior instrument. Each of the classic singing vowelsu (oo), i (ee), e (eh) o (oh) and a (ah) exerts a specific, undeniable influence (and pitch calibration), upon the presently sung pitch. Also, each individual pitch of the singers complete range possesses its own individual anatomical position and vocal throat socket, along the full length of the complete range. During the structural process, each individual pitch must be properly and precisely placed in its own appropriate vowel throat-socket and its own position, along the full length of the complete range, in order to accomplish singing.

Throughout the many years of my teaching career, I have assembled a brief list of seemingly simple questions, which I casually ask of all new-comers to my training studio. One very important question isWhat is your concept of the five classical Italian vowels? What parts do they play in the process of developing your singing voice, and how are they to be used in your vocal training program? I could present you with a long list of wrong, funny, and bizarre answers to that question, which Ive received over past years. But, one particular one takes first prize. One auditioner told me, I never concern myself with the vowels since I already possess them by nature, through my speaking voice. And when I sing, I produce all the vowels in the same manner that I do while Im speaking. That unsound, ridiculous statement graphically demonstrates how radically and dangerously off course which most contemporary concepts of the five singing vowels have gone. And how negative an influence they have had upon present-day vocal training. When joining any of the five classical Italian vowelsu (oo), i (ee), e (eh), o (oh) and a (ah)to a selected pitch, in order to perform a certain vocal exercise, the selected vowels inherent muscular responses and individual properties exert a strong influence upon that selected pitch and the results which that particular exercise will have. Therefore, knowing clearly, from the outset of vocal training, what the inherent muscular responses and individual properties of each individual vowel are, and what they can or cant do, will play a major role in granting or denying a student success. The Vocal Registers

The complete range of pitches of all singers voices, male and female of all categories, is muscularly subdivided in to two separate yet complimentary muscular systems. These two muscular systems are generally known as the chest voice register and the head voice register. These registers are permanently antagonistic toward each other. This means that when the singer attempts to create a completely smooth-sounding range of tones which are all in perfect muscular harmony with each other, this inherent muscular antagonism between the two registers makes the task nearly impossible. Without really knowing precisely what to do, to eliminate this antagonism between the registers, you may somehow manage to fix some or many of the pitches of your complete range, for a short period of time, so that they are usable. But, you will not be able to fix all of them, unless you precisely know how to eliminate the inherent antagonism that exists between the chest and head voice registers. If and when you can eliminate this antagonism, you will then possess a superior singing voice.

Each of the five classic Italian vowels relates and responds to the singers complete range of tones in its own special way.

Each vowel possesses a preferred affinity to either the chest register, or to the head register. This means that some of the five vowels respond more readily and correctly to the chest voice range. While others respond more readily and correctly to the head voice register. The a (ah), and o (oh) vowels respond more readily to the chest register. The u (oo) and i (ee) vowels respond more readily to the head register. The e (eh) vowel has a 50%-50% affinity and positive response to both registers. Sometimes the e (eh) vowel responds more readily to the muscular controls of the chest resister, and at other times ,more readily to the muscular controls of the head voice. This will be explained later, in detail. For your convenience, we again present a chart (below), which shows the precise location of the two antagonistic vocal registers, and the precise location of the Registers' Break which separates the registers from each other. It is, in part, the Resters Break which causes the registers antagonistic responses towards each other. And, you cannot succeed in nullifying this antagonism unless your method of doing so does not disturb or interfere with your many natural bodily functions, such as swallowing and breathing ,easily and naturally, which all human being accomplish in a rather unconscious manner. Only when these muscular controls of both registers are being used in a correctly functioning manner will this antagonism be eliminated, and allow the singer to possess superior singing voice. Each individual vowel possesses its own inherent muscular behaviors, physical properties, and its own influences. All these factors are difficult to manage or alter, for purposes of correct singing, or when applying vocal exercises to them. These little recognized, but highly negative factors manifest themselves more dramatically when attempting to sing within the area of the troublesome Registers Break. However, possessing specific pre-knowledge about the five vowels inherent muscular behaviors, and their specific controls of certain areas of the complete range, or sections of it, can be advantageous. This antagonism, operating between the two registers, is the major problem which all singers of all vocal categories unavoidably face. Successful elimination of this antagonism is a long and slow process. But it must be successfully accomplished, since it is the only solution which singers and vocal teachers can employ,in order to to gain a completely seamless vocal range.

Before abandoning an unproductive vocal training program and entering into a new and hopefully better one, each singer must take into account the various ways in which his/her singing voice has already been influenced by its previous vocal training program. And be aware of this factor: If you dont take into consideration all of your past vocal training experiences, both negative and positive, there will be no way for you to make valid, helpful comparisons and evaluations between your old, discarded training methods and your new methods. Only by honestly and ruthlessly objectivity, will it possible to make positive changes ands progress towards success. The dictionary defines a vowel as: A speech sound created by a free passage of the breath through the larynx and oral cavities. Each of the five classic vowels forms the central sound of a particular word of a vocal phase. Each individual vowel also influences how the force of the breath stream breath is shaped, narrow or wide, for example, as it it passes through the glottis (the opening between the vocal cords) and whizzes upward or downward along the full length of

the resonance channel, heading toward the selected pitch which the singer has selected and its resonance cavity. For many decades now, most vocal instruction has neglected to mention and clearly define the importance of the motor force of the breath and the resonance cavities. More importantly, teachers, in general, have failed to explain exactly and specifically how the breath force must be applied and how to direct it toward a specific resonance cavity, because, in truth, they themselves dont know how.. \Proper, successful usages of the breath force are critical to understanding the five classic vowelsfirst, how to basically evoke them, how to tune them, how to sustain them, and how to accurately create the throat socket which each individual vowel is capable of forming. These factors are of major importance, but they have not been talked about for many decades. I have wondered, for quite a long time why each generation of vocal students hasnt scampered to the plentiful public libraries of our great cities, in order to read the enormous amount of vocal manual on vocal wisdom, of the classic past. Or, for them to search the entire world for a truly qualified voice teacher, in order to learn all about these important and almost totally lost vocals concepts, and how to apply them? Perhaps, the fault is primarily due to the erroneously and universally preached principle that: the singing voice is already a totally assembled musical instrument, which lodges in everyones throat, which is ready and waiting for the student to merely learn how to play it.. And, that all of its pitches and sounds, while actually singing, must be focused forward, towards the singers front teeth! What tragic, erroneous hogwash that is! I sometimes wish that my readers had been with me, ashen I was a young operatic stage director. Then, they would have heard for themselves the awesome, overwhelmingly beautiful vocal sounds made by most of those great singers whom I had been so privileged to work with. And, they would have seen what these great singers physical stance was like during, and after singing a difficult operatic opera. If asked, none of them would have said that great singing was easy, or natural, but very athletic. All you had to do, to understand how difficult their performance had been, was to observe the sweat on their brows, and the heavy rising and falling of their breathing systems. Whenever a new student says to me, Im seeking a vocal method that is completely work-free and easy to manage, I immediately advise him/her to find another voice teacher. What about voice placement?

The only physiological place to which all singers must direct the force of the breath of a selected pitche (s) is to a selected pitchs focal point, within one of the resonance cavities. This focal point, during the Paris period of vocal training, reigned over by such great singer/ teachers as Giovanni Sbriglia and Jean de Reszke, was called by the French, the point dapui., and by the Italians, the punto dappogiare.

Proper vocal guidance consistently, accurately, and infallibly helps the student to first locate a selected pitchs exact focal point, (which is located in a specific place along the full length of the complete vocal range), and then explains to him/her how to develop it. And, how to repeatedly and accurately locate that same focal point of each pitch of his/her complete range. The ability to do this, over and over again, is a realistic factor about successful singing, and, it is critically important to know about and to fully possess. Slow-paced training allows the student the necessary strength of time needed to fully and completely develop a particular pitch into a superior tone. All the vocal focal points, and the various ways which they must be used, be explained in the clearest, simplest, and most concise manner possible. Accomplishing that will help the student to fully understand the methods for changing an undeveloped, average sounding pitch to an advanced, superior performance level of development. Total knowledge of how to direct the force of the breath along the full length of the complete range, towards its the focal point, then into its appropriate resonance cavity, once throughly learned, allow the student to begin masters all other ways of managing the breath force. But, with all applications of the breath force, all pitches to which it will be applied must be evoke with a soft, completely detached falsetto voice control. This means means that the selected pitch is totally detached from all power factors of the chest voice. And with most primary vocal exercises, and employing the falsettos detached falsetto u (oo) vowel). Doing precisely that establishes the critically important first layer of the vocal cords participation of any selected pitch, from which all future development of it can then be launched. It is also critical to understand as soon as possible that there exist two more layers of the vocal cords vibrations, necessary to fulfill all 3 layers of the vocal cords participation with all performance levels of any and all pitches. Only by developing all three layers of the vocal cords depth of participation and in a precise and specific order, can an undeveloped tone progress from its initial starting point, of the detached falsettos 1st layer, then be developed to the 2nd layer, and finally to the 3rd layer of the vocal cords participation. Successfully accomplishing this with but one undeveloped pitch, of the singers complete range, will then allow the singer to accomplish the same with another undeveloped pitch, then another, until eventually, all the pitches of the complete range will have been transformed in this manner. Only then will the singer be granted total control of all the tones of his/her complete range, which can be evoked softly or loudly, at will, with incredible purity and beauty, and with pure and distinctly understood vowels, which assures him/her that he/she has finally come to possess ands total control of his/her singer instrument.

This is what Lilli Lehmann (1848-1929) said about the breath flow:

Not until the last note of a phrase has passed the bell or cup-shaped cavity of the mouth and lips may the breath, generating that phrase, be allowed to flow unimpeded into its appropriate resonance cavity.

Lehmanns most notable students were Geraldine Ferrar and Olive Fremstad. Lehmanns favorite exercise was The Great Scale, in which she sang every note in her range slowly and with varied vowel colors, and breath force dynamics. She believed strongly that singing was a form of athletics. Let talk now about the erroneous Forward Voice Placement principle which has destroyed the potentials of a great many vocal students.

The misguided theory and practice, that a singer may produce bright tones immediately, at the beginning of training, simply by directing a selected tone forward, does indeed produce a bright tone, but all these so called bright tones, are incorrect and are only available for a brief period of time. To clearly understand the fallacy of the forward placed tone theory, and the vocal damage that it causes, consider that there are no physiological components of the forward placement position that are remotely capable of generating this so-called tonal brightness. This is so, since neither the soft sinus tissue of the mouth cavity, not the lips, where these lauded over bright tones, may be produced, by a simple, forward placement technique are remotely capable of brightness of tone. Neither can the singers tongue, teeth, or lips produce brightness of tone. Only the vocal cords can produce brilliant shining sound. Even so, until the edgy brilliance factor of the vocal cords are modified by the positive influences of one of the resonance cavity, by modifying their original edgy qualities, they will not please the ears of the singers listeners. If you want to hear sounds which the above mentioned physiological organs are only capable of producing, simply place a raw steak, with its bone attached, upon your wooden chopping block. Then pound it with the sharp teeth of your metal, metal tenderizer. Then, the only sounds youll are dull sounding thuds,totally devoid of any brilliance. If you want to check this further, ask someone who really knows a lot about acoustics. Hear what he/she has to say about sounds, of all kinds, in general,and their corresponding resonance factors. Each of the five classic vowels possess a potential for the singer to arrange the highly malleable muscles of the head voices register which produce it, into that particular vowels own vowel throat socket. With the help of the breath force, of course. The o (oh) and a (ah) vowels favor an open-throated socket, while the u (oo) and i (ee) vowels favor a closed-throated socket. These critical, undeniable factors slowly manifest themselves to the singer only after he/she has been made aware of them, and starts over and control them.

If the singer shifts the vowel throat socket of an e (eh) vowel toward an o (oh), or a (ah) vowels throat socket, which is occasionally required of the singer, that allow the breath force to flow faster and more freely through the selected itch, and the initial e (eh) vowels throat socket will immediately adjust itself to a more open-throated position. Conversely, if the singer shifts an a (ah) vowels wide open throat-socket more towards an i (ee) vowels closed-throated socket, the initial a (ah) vowels throat socket will immediately adjust itself to a more closed throated position, and that will considerably reduce the flow of the breath force. More about the two vocal registers

Relative to the open-throated and/or closed throated positions which each vowel has a potential to create, and all of which was just mentioned above understand that all the tones of all singers complete ranges are subdivided into two separate muscular groupsthe chest voice and the head voice. The chest voice is inherently an open-throated vocal register, and the head voice is inherently a close-throated register. Understanding these factors at the beginning of training is essential. More specific information about these closed throated and/or opened throated factors concerning the two vocal registers and the five classic Italian vowels, and their inherent muscular responses and individual properties, will be forthcoming. But for now, understand that the open-throated pitches of the chest voice registers negative contributions and influences upon all singing voice must be denied in order to successfully structure a superior vocal instrument. Least the reader, come to think that all the chest voices influences are negative, understand now that they are not. And that we will discuss all of the positive influences of the chest voice later on. During the long first phase of the structuring process, all the chest voices negative influences must be they must be restrained and then totally eliminated. This can be accomplished by utilizing special applications of the detached falsetto i (ee) and u (oo) head voice vowels, in special ways. While all five vowels are important to the structural process, certain vowels perform different structural tasks, which are called upon at different phases of the overall structuring process. Just as a hammer cannot effectively perform the same task as a screwdriver, nor can a screwdriver effectively perform the same task as a pair of pliers. Similarly, the detached falsetto version of the i (ee) and u (oo) vowels, accompanied by certain exaggerated applications of the breath force, perform special tasks which the other three vowels cannot. The detached falsetto i (ee) and u (oo) vowels serve the students best earliest tools for converting all his/her chest registers pitches away from their original thick forms and into thinner forms of their original selves. These thinner forms will be modeled upon inherent, thinner muscular contours of the head voice register. This is the only way in which the two Registers total number of pitches can be restructured so that they come to function, while actually singing, as if all the pitches of the complete range are being controlled by one single muscular system.

Currently, virtually every singing teacher and his/her pupils are trying to accomplish quite the opposite result. They are erroneously attempting to make the negative and inherently thicker muscular contours of the chest voice dominate and influence the inherently thinner muscular contours of the head voice register. This can never be accomplished because the raw tones of the chest register offer no thickness/thinness muscular options and/or variations to the singer in their original form. Nor dost the chest voice allow the singer to produce its pitches on the breath flow. The chest voice generates only inappropriate, unalterable, maximum width throat-sockets. These thick, cumbersome chest registers throat sockets are permanently incompatible with the inherently thinner throat spaces of the head register. Considering this, we wonder why most contemporary voice teachers who repeatedly attempt to drive the chest voices inherently thickrigid-throated-spaces upward in the range and experience innumerable failures dont stop and ask themselves, if their possibly exists a radically different structural approach to blending the two registers. The incorrect, dominate, chest register approach to all vocal training, accounts for the fact that the passaggios pitches cannot function in any other way, but the negative, consistent failing one, described above. The failed but still determined student must make a rational change in his/her thinking, and then thoroughly investigate the opposite the principle of his past training, that the upper middle part of the chest register, the pitches of the wide passaggio, for all male singers, from B-Flat below middle C, to the G-Natural pitch above middle C, must all be completely re-assigned to the thinner (yet not weaker, when fully developed), muscular contours and controls of the head voice register. Of course, at first, these newly converted head tones of the wide passaggios from B-Flat below middle C to the G-natural above middle, will be very weak, compared to t he students old , driven chest voice tones. The above theories must be totally accepted and maintained by all newly converted students to the head voice training method, despite moments of confusion and disappointment, and doubt..The student must fully open his/her mind to fully learning the proper methods of reconstructing all of his/her wide passaggios pitches, and slowly, patiently and precisely learn how to apply all the highly effect exercises that will be presented in the forth-coming Entry #6, which will slowly allow him/her to accomplish his/her wish of possessing a superior singing instrument. Perhaps this following, single, but highly erroneous vocal training principle the process of mistakenly driving the seemingly unalterable, negative width and rigid bulk of the chest voices muscular contours upward in the range to its topwhich is the E-Natural pitch above middle C, at the upper middle area of all male voices, and the lower third of all female voices has caused more damage to all singers voice than all other misguided practices to which they have been submitted. Accomplishing a complete conversion of the chest voice range away from its inherent, inflexible thickness, over to a new form which matches the inherent thinner muscular contours of the head

voice register, must become the new basic goal. By transporting the muscular controls of the head voice downward from the very top of the range, to the lowest pitch of the chest register, it creates a critically important turning point which could re-direct most of the erroneous, nowproductive, contemporary vocal training, onto the right road to success and productivity. The above information, and statement of purpose is a strong challenge to present-day, highly popular, but non-productive voice raining principles. Those who wish to make a change in their training methods must question why they never realized that the real controls of their singing voice are the five classic Italian vowels, which are motored by the force of the breath stream. More facts about the five classic vowels

As stated earlier, some of the five classic vowels are inherently closed throated vowels, while others are open throated vowels. The u (oo) vowel Is the most closed-throated vowel of all the five vowels. The u (oo) vowel relates very facilely and harmoniously to the top range, and to the singers efforts to evoke the muscles of the head register, for purposes of exercising, and developing them. Evoking the purest form of the head voice, with only the softest possible dynamic, at the onset of vocal training, is most critical.

Here is what David Alva Clippinger (1860-1938), a superior American voice teacher who believed in, and practiced The head voice system of vocal training, had to say about this matter: In preparing the head voice. the student must begin with a tone that is entirely free from (chest voice) resistance and build from that. In a large majority of voices, it means practicing with a light, soft tone. A voice that cannot sing softly is not rightly produced. While the student is working for the freedom which will give him/her a good half voice he/she is preparing the conditions for a good full voice. The conditions are not right for the practice of full voice until the last vestige of resistance from the chest voice has disappeared. This light voice is as necessary to artistic success as the full voice. The singer must have both, but he must never sacrifice quality for power. During the process of rendering Clippingers light voice (which is our detached falsetto voice), free from all chest register resistance, without sacrificing the controls of the power voice, the singer must never lose the use of the upward-lift generated by the head voice register, nor the chest voice registers downward pulling muscular controls.

Frequently, a singer who is excitedly striving to build projecting high notes overdoes the development of the head voice muscles, resulting in a temporary loss of the use of downward pulling muscles controlled by the chest voice. In that case, the singer should not use the a (ah), e (eh), and i (ee) vowels in the upper middle and top range for quite while. Instead, he/she should use only the softest o (oo) vowel from middle C for all male singers, and C2 for all female singers, downward in the range. Then afterwards, gradually add the softest o (oh) vowel to the u (oo) vowel; first, in the area of the registers break, then with the pitches of the top range, then finally with the pitches of the bottom range. After quite some time of using only the u (oo) and o (oh) vowels, as prescribe above, the singer make apply the u (oo), o (oh) and the a (ah), in this precise order, on one, single pitch of the middle range, then with all of the pitches of head voice range. Each individual exercise must start with Clippingers light voice, and our detached falsetto voice, and the softest u (oo) detached falsetto vowel, and on the same pitch, then pass on to the o (oh) vowel, and finally arrive at the fully open throated a (ah) vowel. This is one of the great , lost exercises of the historical pasts great training periods. The head voices purest form of the detached u (oo) vowel can most easily and correctly be evoked in the upper posterior area of the throat, and when the tone is selected from the very Top Range, from F-natural above middle C, for all male voice, and above F2-natural above C-2 for all female voices. This soft, selected detached falsetto pitch must be completely free from all relationships to the chest voices power. Only this particular soft, ethereal sounding, detached falsetto u (oo) vowel can enlighten the singer as to what a proper attack or starter really is, for evoking any and all pitches, for both exercise and singing purposes. The u (oo) vowel is the most neutral and passive of the five vowel where negating all vocal vibrancy and projecting volume of the raw chest voice, and especially where a proper, extremely soft start for all pitches, are concerned. The u (oo) vowel is the base voice, for all signers, of all categories. At the outset of vocal training, the u (oo) vowels true nature and its invaluable contributions to the singing voice, and to the voice building process are seldom understood. Consequently, the u (oo) vowel has become much neglected, where training exercises are concerned. Most singers, while singing, incorrectly alter the throat position of the u (oo) vowel to that of an o (oh) vowels throat position, or to an a (ah) vowels throat position. These erroneous maneuvers aim to match the u (oo) to the wider o (oh) or a (ah) vowels, and to add solidity and brightness to it. When this is done, the other four vowels suffer, as a result , None of the five classic vowels can be permanently neglected, whatever training method one favors, since their contributions are all equally essential and indispensable. The five vowels perform various different tasks for the singer, and those tasks must be thoroughly understood, in order to first build and then maintain a superior singing voice. The i (ee) vowel

Is also a closed-throated vowel. Like the u (oo) vowel, the i (ee) vowel relates very facilely and harmoniously to the head voice register, and to the singers efforts to purely and softly evoke the muscles of the head register for exercise or singing purposes. However, unlike the vagueness of throat position which the u (oo) vowel creates for the singer, every aspect of the i (ee) vowels behavior is specific. The detached falsetto i (ee) vowel can be readily understood, once the student has been trained, to understand what to look for. But, there is a danger to be aware of, when attempting to evoke a correct detached falsetto i (ee) vowel. It is that while evoking the i (ee) vowel, It is of major importance that the singer generate must generate and apply an increased amount of breath flow to accompany the effort. Then immediately after the desired pitch and the proper i (ee) vowel has been successfully evoked, an even greater stream of breath must be generated and steadily flow, in conjunction with the i (ee) vowel, for as long as the selected pitch needs to be sustained. All five classic Italian vowels can be sung with the muscles of the head voice register and/or with the muscles of the chest voice register, and in different modes: soft or loud, slowly or quickly, and at different times. Howeveronly the detached falsetto, head voice form of the i (ee) vowel can be used for vocal training. Be fore-warned that : the chest voice form of the i (ee) vowel should never be used. Also come to understand that, there also exists an appropriate connected form of the falsetto i (ee) vowel, (connected to the chest voice) but only the after power factor of the chest voice has been smoothly and proportionally transformed away from its thickness and bulk, and behaves in a subordinate manner, to the head voices dominant control over it. This takes a very long time to understand and to accomplish. All these complexities concerning the detached falsetto i (ee) vowel explains why the i (ee) vowel became the useless and dangerous, throw away vowel. The incorrect chest voice form of the i (ee) vowel immediately makes its presence known to the singer because it immediately starts to shut down the entire singing voice. This happens because the unusable chest voice i vowel (ee) readily attaches itself to the raw, thick, cumbersome muscular movements of the chest voice, which immediately creates a rigid lower jaw. Presently, difficulty in identifying the correct detached falsetto i (ee) vowel from the incorrect and damaging chest voice i (ee) vowel has confused most singers and voice teachers so, that practically all versions of the i (ee) vowel have been permanently shelved. I have always suggested to my new students, whenever they attend live performances of present-day classical singers, to scrutinize all of their vowels and observe which of them can sing a clear, sparkling, brilliant i (ee) vowel in any and all sections of their complete ranges, and which of them cannot. One of the most useful factors to understand about the detached falsetto, head voice form of the i (ee) vowel is that its muscle responses always operate in an ascending direction, towards the top of the range, and away from the direction of the lower chest voices range. The unencumbered, detached falsetto voice i (ee) vowel and the particular pitch to which it is attached, can always be safely and correctly evoked by a strong gush of breath energy being

emitted, in the form of an aspirate, moments before the tone is actually started. Then the energized breath stream must be immediately directed towards the very top of the singers range. But only if the singer allows the i (ee) vowels inherent rising element to select ascending pathway. The i (ee) vowels inherent upward movement allows the singer, when actually singing, to restrain the negative, upward forcing power of chest voice power, and take advantage of the continuously rising direction which a correctly produced i (ee) vowel inherently generates. Whenever we speak so vaguely about open-throated vowels, and the closed throated vowels, we do not mean that the vowel being presently sung, that the singer should close the passageway of the breath force (which must first pass through the windpipe, then the glottis, and eventually arrive at one of the resonance cavities. Nature's yawning muscular maneuvers are a graphic demonstration of the detached falsetto i (ee) vowels inherent upward-pulling action being called into play, whenever the throats passageway tend to shut closed and to stop the flow of oxygen to the individual's lungs. The yawns muscular actions are controlled by the same muscles which all singer uses to widely open up the entrance to the resonance channel, when the flow of the breath force threatens to stop The yawns muscular arrangements are similar to the muscular influences which the detached falsetto i (vowel) accomplishes with the singers tongue and soft palate. The yawn also demonstrates natures way of separating the head voices muscular controls from the muscular controls of the chest voice. A proper, detached, unanchored falsetto i (ee) vowel, operating properly on breath force power, will pull the head voices muscles and the particular pitch that accompany them, backward and upward, and then towards the posterior area of the mouth pharynx cavity. If nature did not regularly and automatically accomplish this very same maneuver performed by the i (ee) vowel, through the yawn, the speaking voice would become thick and bogged down by the chest voices excessive thickness, and eventually become dysfunctional. A similar throat condition results when an individual becomes angry and shouts, sending an enormous amount of negative energy to the throat which immediately effects the speaking voice negatively. In such a case, the voice should be rested, to allow the yarns therapeutic factors to counteract and reset the registers into their proper position and balance with each other Besides the yawns many benefits to the speaking voice, and also to the singing voice, its throat resetting techniques are also critically important for purposes of proper breathing and swallowing, during the days busy activities, while we are awake. But they are even more important and helpful when we are asleep, and the passageway of the breath into the lungs, so vital to life, must be kept open. The e (eh) vowel

The e (eh) vowel, for a selected tone, represents the midway transition point of the throat sockets vowel position between a maximum closed throat position, and a maximumly open throat position. These distinctly different throat positions are regulated by the e (eh). Only when the aspiring student comes to understand these sort of individual characteristic factors of the five classic vowels, will he/she become a master singer. When a singer performs the ideal passage through the five classic vowels, meaning that they they are placed in a specific order, starting with the u (oo) and followed by the closed i (ee) vowels, he/she will arrive at a midway throat position of the e (eh) vowel. Continuing past the e (eh) vowel, he/she will arrive at the o (oh) vowel, which will automatically adjust his/her throatsocket to a slightly more open throat position than the u (oo), i (ee), and e (eh) vowels. Proceeding further, he/she arrives at the a (ah) vowel. The a (ah) vowel will have adjusted his/her throat socket to its fullest open position. Thus, the singer has completed an ideal passage through all five classic vowels. After having experienced the above the singer should now be able to understand all future references to open throat or closed throat vowel throat positions. This information will be very helpful later on, when applying the various exercises that are necessary for the structuring the wide passaggio tones.

The o (oh) vowel

The o (oh) vowel plays a very important role in the over all scheme of structuring a superior singing voice. It is that of rounding off and polishing every pitch of all singers complete range. It is also the vowel which give the singer, at lost last, the graduation vowel, which is the a (ah) vowel. With this statement in mind, it is not difficult now to understand how most uninformed singers attempt to achieve the graduate a (ah) vowel, and at the very start of their training. Since we area a culture of speed and we must do and obtain every desirable things as fast as possible, why should we not apply the same attitude for acquiring a superior singing voice? But, returning to a realistic attitude and approach, when a singer has properly applied all the principles and practices for appropriately acquiring a superior singing instrument, meaning that he/she has had his/her voice structured in a specific sequential order, with exercises that first utilize the u (oo) and i (ee), then the e (eh) then the o (oh) vowels, and finally arrived at the graduation a (ah) vowel, it will be clearly and logically understood that all the preliminary, earlier, sequential structural steps which have brought the singer to the acquisition of the most critically important vowel , with every pitch of his/her complete range, which is the a (ah) vowel, it means that the student has arrived at the most advanced point of vocal training. This does not mean that from there forward, he/she is totally free from further study. Quite the contrary, he/she is still obligated to the advancement of his studies by learning how to actually sing. The o (oh) vowels most important contribution to an advanced developed singing voice is to round off all its pitches, and in particular, to round off the a (ah) vowel:

For the singer to possess a highly functional singing voice, every pitch of its complete range, from bottom to top, must permit him/her correct and facile movement, up and down the entire range of pitches. And also to possess the ability to sing clearly formed, and readily recognizable pure vowels. Smooth, facile passage up and down the complete range is rarer and more difficult to accomplish than one would imagine. Most singers use many vocal compromises, or vocal tricks and forgeries, in order to give an illusion that their entire singing ranges are totally in their control. But, most singers frequently cheat by not singing the i (ee) and u(oo) vowels clearly, and their o (oh) vowels are at least 60% a (ah) vowel, and their a (ah) vowel itself, is, a dull, uninteresting with a covered urh sound. And there is no evidence of tonal brilliance anywhere in their entire range. The process of utilizing the o (oh) vowel, to round off a selected a (ah) vowel pitch, starts by first establishing a detached o (oh) vowel, which is totally devoid of a vibrato, and is hooty sounding. o (oh) vowel which is tuned off of a pure, detached falsetto, hooty sounding. The next step is to changing this particular u (oo) vowel, to a detached falsetto o (oh) vowel. While doing so, you must maintain a loose tongue and lower jaw, while simultaneously maintaining a strong stream of the breath force, which remains continuously flowing. At this phase, the exercise looks that this, u (oo)o (oh)! When passing from the u (oo) to the o (oh) vowel the singer should experience a noticeable change, or shift, take place, between the u (oo) and the o (oh)s vowel sockets, and that the o (oh) vowel tends to settled into a slightly higher level than the u (oo). It this does occur, there is a possibility that the change of vowels was not accomplish with a sufficient amount of breath flow, accompanying it. Try this phase again and again until you get it right. The next phase of this same exercise adds a (ah) vowel to the exercise, in this manner u (oo)o (oh)a (ah). However, perform many versions of the first phase of the exercise with only theu (oo) and(oh) vowels for a long time, and only then add the final a (ah) vowel, which represents the second and final phase of the exercise. After passing from the detached falsetto u (oo) to the o (oh) vowel and when you start adding the final a (ah) vowel a very important opportunity arises for you to add the full power of the chest voice to the exercise just as the a (ah) vowel has been accurately placed into its appropriate vowel throat socket. If be the case, than you should take advantage of the moment and bring the final a ( ah) vowel to a full, resonant level of volume. If you have accomplished every required correctly, you will have experienced what the full voice or performance voice, is like and feels. And you should feel a great sense of accomplishment. The pitches involved in this simple exercises are at first, those of the wide middle range. From the E-Flat below middle C, to the G-Natural above middle C, for all male singers. And from B-2-Flat below C-2, to the G1-Natural, above C-2 for all female singers. Understand that, an ideal a (ah) vowel is the most difficult, of all the five classic Italian vowels for all singers to accomplish throughout their entire ranges. This is especially so with all the top notes. This is because an ideal a (ah) vowel demands that singers employ all three layers of vocal

cords folds muscular participation with in any and all attempts to produce a advanced developed, performance level superior (ah) vowel tone. When both the detached falsetto u (oo) and o (oh) vowels are bound to each other in the manner described aboveu (oo)o (oh)and then, when using only the u (oo) and o (oh) vowels, bound together, and then performing the messa di voce exercise with them, both of the u (oo) and the o (oh) vowels will gradually strengthen toward their most advanced potential forms. And when they eventually reach their fullest potential strength, they will be capable of evoking the muscular controls of the a (ah) vowel, and to successfully and fully produce it to a performance level. No other arrangements of the five vowels can accomplish for all singers what this specific arrangement of theu(oo)o (oh)a (ah) can, and it is one of the most valuable structural, which all serious dedicated should come to possess. It represent one of the most important, long lost and forgotten structural tools for advancing the muscular strength of each and every pitch the pitches of all singers wide passaggio pitches. The above represents a vocal structuring accomplishment of major importance. Achieving it grants to the singer these invaluable vocal assets: The complete removal of all the inherent antagonism that once existed between the head and chest registers! Or, stately differently, it renders all the pitches of the complete range muscularly harmonious with each other. which means that the singers now possesses the much desired, fully open throats facilities, which allows him/her to ascend or and descend the complete range, with a full range of breath force intensity levels, and slowly or rapidly. And, while producing pure, precisely pronounced vowels. For the moment, that s enough of these special accomplishment and their precious rewards. And, there are is still more to come about them, but well talk about them later one, as they being individually presented and explained to you in great details.

Some important facts about the three distinct, separate, layers of participation of the vocal cords folds.

The three separate, distinct layers of participation of the vocal cords folds must be clearly understood. The principles and exercises used by the student to first identify and then to fully develop their muscular controls, must be presented to all the students, at the very onset of their vocal training. Precise and clearly understood descriptive phrases of whats to be accomplished, and how must be presented. Along with easy to understand mental imagery guidelines, which can be extremely helpful. And, despite complexity of the subject matter, the student must come to understand the importance played these vocal cords layers, when it could to actual singing, on a high level, as opposed to merely exercising the singing voice. imagery with and all pitches of his/her complete range, and as soon as possible. Only after completely understanding all of them, may a student succeed in evoking each of them individually and/or collectively

The 1st layer of the vocal cords participation with any and all pitches manifests itself as The Detached Falsetto Voice, and it applicable and operative with any or all selected pitches.

The 2nd layer of the vocal cords participation manifests itself to the student, as the Mixed Voice, and it, too, is applicable and operative with any or all selected pitches.

The 3rd layer of the vocal cords participation manifests itself to the student the Full Voice, or the Performance Level Voice. Both of which allows the singer to swell any and all pitches of his/her complete range, from a soft, detached falsetto starting point, to the level full projecting power. When this is possible, it signifies that the singer has accomplish the 3rd level of the vocal cords participation, or the performance level of that particular pitch. At that advanced level,s the singer can diminish, the same swelled, pitch back to its original soft starting point. It must be clearly understood that this accomplishment represent a Golden Ideal, which very few singers, indeed, have actually accomplished. And equally important, it grants the singer complete understanding of what he and she can accomplish, while actually singing, that is superior. But dont forget that these above skills sometimes require great faith and patience and many years to accomplish. More about the o (oh) vowel

The o (oh) vowel is capable of helping the singer increase the muscular strength of the detached, falsettos u (oo) vowel, while still allowing the pitch being presently exercised to remain dominated by muscles of the head voice register, while denying all participation of the power factor of the chest voice. The detached falsetto u (oo), o (oh) and a (ah) vowels when they are joined together, and swelled has the ability produce the a (ah) vowels fully connected version. Success represents a very important structural accomplishment. Fully possessing all knowledge of how to execute an a (ah) vowels properly allows the singer to first create, then, when necessary, repair any and all pitches of the complete range. Each individual pitch which is being gradually and properly strengthened, by the combined u (oo)o (oh)a (ah) possesses a superior, round and velvety quality. Always remember, there must be no attempt to impose roundness upon any particular pitch too soon. When singing a dramatic passage from a song, or an operatic aria, there is always a possibility of the singer becoming swept-up by the drama, and unintentionally applying an excessive amount of breath pressure to a particular pitch or dramatic phrase.

When that is the case, to restore the voice, it must first be rested for a day or two, and sometimes even longer. When the singer returns to the abused tone (s) to repair it, he/she should apply a soft, hollow, totally detached u (oo) vowel to it, then sustain it at a soft level, for as long as a you can. Then terminate it and give the voice another long rest. Upon returning to that same pitch, the singer once again evokes a purest, detached falsetto u (oo) vowel possible, but this second time, gradually change the u (oo) vowel to an o (oh) vowel, then prolong that particular pitch. Upon returning to the same pitch, the singer may now add the detached falsetto a (ah) vowel to the exercise, in this manner: u (oo)o (oh)a (ah). More about the a (ah) vowel

Eventually possessing a correctly produced, pure, brilliant, beautiful and powerful a (ah) vowel, one that can be smoothly and liquidly swelled and diminished, and on each and every pitch of ones complete range, is a highly desirable goal. It requires the singer to first develop the other four vowels to their fullest potentials. Doing so prepares the way for the a (ah) vowels fulfillment. The process of bringing the a (ah) vowel to that fulfillment makes the greatest demands upon the singing instrument, where weight, throat space, and total control of all dynamics are concernedfrom soft to loud), then back to soft again. (Please read once again all the information given in o (oh) vowel section, above.) The a (ah) vowel demands of the singer that the singer bring together all three depths of participation of the vocal cords folds. This specific state of all three layers of the vocal cords participation, when it has been correctly accomplished was called la voce piena, or the full voice, by the old master voice teachers of the past. They also sometimes referred to it as la voce racoltata, or the gathered voice. Before attempting to use the a (ah) vowel with the wide passaggios pitches, each of the wide passggios five half-tones must first be exercised a great deal with the u (oo) and o (oh) vowels for quite sometime. This will render them mute and hollow for a temporary period of time. In that sate they will be devoid of all performance qualities. That is necessary and must be tolerated, before attempting to add the a (ah) to any or all of them. All five vowelsu (oo), i (ee), e (eh), o (oh), and a (ah)possess a great many more positive contributions to successfully structuring a superior singing voice than those already mentioned above. Many of these positive contributions will be explained in greater detail later,in Blog Entry #6, when certain exercises for structuring the wide passaggio are presented. Perhaps, for many of my readers, the forgoing information will seem superfluous for the moment. That is understandable, since the concepts presented so far have dealt mainly with theory, and did not include any actual methods for their application. However, when we do start working with the actual exercises for structuring the wide passaggio tones, their full meaning and importance will be clearly presented.

This is what the great tenor Enrico Caruso, had to say about the five classic Italian vowels:

If you start the study of Italian, persist until you have really mastered the language. In doing this, your ears will get such a drill and such a series of exercises as they have never had before. You will have to listen to the vowel sounds, as you have never listened before. This is necessary because, in order to understand the grammar of the Italian language, you must hear the final vowel in each word and you must hear the consonants distinctly. There is another peculiar thing about Italian. If the student who has already studied and sung in English, German, French or Russian attempts to sing in Italian, he/she is really turning a brilliant searchlight upon his/her own vocal ability. If he/she has any faults which have been concealed while singing in his/her own language, or in any other language, they will be discovered at once the moment he/she seriously commences to study and sing in Italian. Its vowel sounds are so pure and smooth that they expose all deficiencies. The student who studies Italian merely for six months and does not make an effort to secure a perfect accent, sounds as funny as the comedian who imitates German immigrants, on the American stage. If that be the case with you, and you hope to sing in Italian in a manner which will not evoke from your listeners a sense of the ridiculous, you are deceiving yourself. It takes years to acquire fluency in a foreign language.

Enrico Caruso

The Energy Force of the Breath

When a singer inhales an exaggerated amount of air into his/her lungs though the mouth (never through the nose), then makes an effort to restrain that air within the lungs, and not allow it to dissipate and escape through the mouth, the retained air in the lungs becomes compressed and forms a potentially strong energy force. When evoking a particular pitch for singing or exercise purposes, the singer allows the pent-up, compressed air to gradually leave the lungs through the opening of the glottis, which is the narrow opening between the vocal cords. As the compressed and withheld air in the lungs departs from the lungs then passes through the vocal cords, the breath is transformed into a thin, highly dynamic, energized stream. To understand this, think of the possible ways you can adjust the nozzle of a hose, so that it changes the out-going water spray to either a widely splayed spray, which is neither very strong nor intense, or to a narrowly focused, thin spray, which is highly focused, strong, and rather intense.

This is similar to the way the restrained breath held back within the lungs, depart from them, in a thin, highly intense stream. While that is occurring, the singer must lean the breath stream against the glottis, but at the same time, not to allow to slacken and become loose, otherwise, the energy of the breath will be dissipated, and the motor force of breath stream will immediately become weakened. On the other hand, if the singer keeps the opening of the glottis moderately taut while still allowing the breath to pass through it, that creates a powerful airpressure-tool for developing any selected tone. This breath tool ca create brilliant, dynamic tones at the top of the range, which the old masters called squillo tones. The word squillo means to blare out in the manner of the trumpet. Squillo tones are created by the singer when he/she maintains a maximum but appropriated tension of the lips of the glottis, and exerts maximum breath pressure against it. This grants the singer the most slender, and most powerful energy which when aim a selected pitch, makes it soar outward, and over the orchestra, and into the audience. Most present-day singers have not discovered the correct method of maintaining proper tension with most of the pitches of their bottom ranges. And, because their bottom range tones are allowed to go slack and lack appropriate tension, consequently the singers top notes can never be produced with a slender, gathered beam of the breath force. And, their listeners must tolerate watered down upper tones which lack brilliance and which do not generate spontaneous excitement. After the breath stream has passed rapidly through the glottis, the singer is obliged to immediately direct its highly energized, slender beam upward and along the resonance channel. The energized bream of breath must first pass behind the soft palate, which must be made to assume a downward and forward position, facing the front of the mouth. Only when the energized air stream is directed upward and backward behind the soft palate can the breath stream find its way into the resonance cavities of the Top Range. These resonance cavities are situated above the hard palate in either the nasal sinus cavities, or those of the skull. Selecting a particular resonance cavity is dependent upon the presently sung pitch. Understand that all the pitches of the singers complete range are not located within the same resonance cavity. Each of the three basic resonance cavities are individually spaced at various points along the full length of the complete range. The old Italian master voice teachers called the resonance channel the Colonna Sonora, or the Resonance Column. The singing instruments resonance cavities are similar in function to those of all other musical instruments. They all function as a resonators. This means that they mandatorily require a collaborator to first initiate a pitchs sound, which is called the producer of sound. While each resonance cavity, is called the resonator, which amplifies and enhances the vibrations produced by the vocal cords, the producers of sound. The singer is obliged to direct the breath stream of the selected pitch and its accompany vocal cords vibrations into any one of the three resonance cavities, appropriately to the presently sung pitch. Once the vibrations of the vocal cords (the producers) enter into any of these resonance cavities (the resonators), the size and shape of that particular cavity amplifies and enhances the

original sounds produced by the vocal cords. You can read more about this in my vocal manual, A Singers Notebook. More about incorrect, damaging ascending scales And forced resonance!

Presently, many voice teachers could not explain the purpose and goal of their rote use of inappropriate and damaging ascending scale exercises. Without doubt, they are sincerely trying to develop their students voice, and extend its range upward. But, the basic nature of all ascending scale exercises negatively challenges the singing instrument, and eventually causes failure. This is because these raw ascending chest voice scale exercises employ a false resonance technique. False resonance drives a pitch out of its appropriate space along the resonance channels and into the space of the next, higher pitch. With all ascending scales, this occurs again and again with each new, higher pitch. Then again, into the next higher pitch. This is an inappropriate and destructive attempt to join one pitch to all the other pitches which the ascending scale encounters, in its ascent. Such negative effort completely fails to consider the fact that each and every pitch of all singers complete ranges, is an individual entity unto itself, and is therefore unlike all the remaining pitches of the singers complete range. And that its individuality must not be destroyed!

Please re-read the paragraph below, which comes from an earlier section of this blog:

Each individual pitch possesses its own inherent, permanent physical properties, muscular behavioral responses, and renders its own individual contributions to the process of properly training the singing voice. All these factors are difficult to manage and/or alter, when one attempts to restructure a particular pitch, or several itches of the complete range by applying a particular exercise to it.

Each individual pitch of the singers compete range, when energized by the breath force, must produce a precise number of vibrations per second that is appropriate to that individual pitch alone. No other pitch of the singers complete range is exactly like it, nor should it be. Now, please scroll back to the beginning of this blog and re-read the section entitled:

More about the Intensity force of the Breath Stream

Most individuals who are knowledgeable about, and seriously involved with the process of developing classical singing voices agree that an individual pitch, selected from the singers complete range of pitches, can be gradually strengthened by applying the power of the breath force to it incrementally, by gradually increasing the amount of intensity of the breath force to the same pitch, so that it can be developed to its maximum potential strength. But few are aware that applying breath force intensity to any selected pitch to develop its strength, also requires knowing precisely how to prevent all any and all other energy force from interfering with the process. One particular, but major destructive energy force which readily and consistently interferes with the strengthening of a particular pitch is the negative solid force of the chest voices muscles. Applying the solid, negative force of the chest registers muscles instead of employing the non-solid force of the breath force, at various adjustable levels of intensity, violates a sacred rule of the great voice teachers of the past. That rule states: any pitch selected for developmental purposes, which has not been evoked and then sustained by the force of the breath stream, is using inappropriate, damaging forced resonance! All correctly evoked pitches are capable of being started with a soft breath-flow dynamic. Doing so gives the singer the option to then increase the amount of breath-intensity being applied to that selected pitch at incremental levels, in order to develop it. And also, to decrease the amount of breath-intensity. If the singer has properly evoked a selected pitch correctly with the force of the breath stream, but then decides that he/she has not evoked it properly,, he/she can immediately stop the none non-solid breath flow, rest the voice for a few minutes, and then make a new start. Quite to the contrary, when inappropriate forced resonance has been applied to the muscular controls of a selected pitch, using the chest registers muscles and forced resonance there is no option available for the singer to stop the exercise and make a new, hopefully better start. This is because, unlike non-solid breath energy, solid, forced resonance energy has inappropriately driven the rigid chest voice muscles upward in the range. Consequently, those driven chest voice muscles will remain active as a negative force for quite some time, until they have been properly contracted back to their proper locations, by the bodys force of nature, plus a long period of resting the abused singing voice.

The training method used by body builders

Let us now consider the training method used by body builders to strengthen and shape the muscles of their bodies.

Body Builders approach advocates the application of progressive, incrementally increased levels of stress, using various poundages of weight to exercise a certain muscle, followed by periods of rest. Individuals using this particular approach unanimously agree that it is correct and that it works. At the beginning of training, these body-builders use a limited amount of weight, and they exercise a particular muscle with it. They do this by performing a set of repetitions of the exercise which stress that particular muscle. Afterwards, they rest those stressed muscles for a period of time. When they return to their next exercise session, body builders increase the weight that is now to be used to a higher poundage. They then apply a set of reps to the same muscle (s) again. The increased weight of the second exercise session stresses these muscles to a greater degree than the first exercise period. From then on, and for the duration of the training program, with each new exercise period, incremental increases of weight are added to the exercises, followed by periods of resting the tired, worked muscles. Eventually, all the muscles that have been subjected to the above procedures reach full development. A similar training method, to the one used by these weight-lifters, to develop selected muscles, may also be used by singers, to develop the pitches of their complete ranges. This can be done by applying a certain amount of breath intensity (in place of using weights), to a selected pitch to stress it, and then resting the voice for a period of time. Then, with the next exercise period, the amount of breath intensity applied to the same pitch, should be increased, followed by a period of rest. In this manner each individual pitch of the singers complete range may eventually reach its fullest potential development. There exists a solid physical component that must be used with all correct applications of the intensity of the breath force. It is the physicality of the pharyngeal muscles, or as they are better knownthe muscles of the head voice range. These muscles are highly malleable and adjustable. They can be arranged, then rearranged if necessary, into different positions which enable the formations of the five classic singing vowels. Each of the five vowels requires the singer to learn how to adjust the pharyngeal muscles in a particular and precise manner, which will produce a pure form of the selected vowel. At the beginning of strengthening these pharyngeal muscles, in order to accomplish each individual vowels singing pronunciation, they will be found to be very weak. These undeveloped pharyngeal muscles represent the solid, physical component which he singer is obliged to use in conjunction with the force of the breath, in order to develop a particular pitch, with all five classic vowels. What is accomplished for the singer, with all five of the classic Italian singing vowels, is a unique creation of sound shadings which are beautiful to hear, but understand that they are vastly different from the sounds which are produced by the speaking voice, because they are the language factor of classical singing. The messa di voce exercise

The principles used by the messa di voce exercise employs similar training methods to those used by weigh lifters, as described above. The messa di voce exercise instructs the singer to start a selected pitch, chosen for development, with the softest dynamic. After the pitch has been established, the singer gradually swells it by increasing the amount of breath pressure that is being applied to it. Then, without taking a new breath, the selected pitch must be diminished back to its original, soft dynamic start. This is followed by resting the voice for a decided period of time. During future exercise periods, the same procedures are repeated, but with each new exercise period, during the process of swelling the breath intensity, the singer attempts to apply a greater amount of breath to the same pitch, in order to further develop it. This same process continues with each new exercise session until the selected pitch is strong enough to accept maximum breath pressure being applied to it. Eventually, the selected starter pitch reaches its maximum potential development. In that advanced state it has gained enough strength to pull the full power of the chest voice up to its level and connect that power to the starter tone. The ultimate goal is for the singer to be able to achieve the same connection between the starter falsetto pitch and the power of the head voice, with each and every pitch of his/her complete range. The above scenario represents a simplified version of the messa di voce. However, a successful messa di voce exercise entails a great deal more than what has just been presented above. Later in these essays, when we begin to outline the exercises which develop the ten half-pitches of the passaggio wide, most of the messa di voces principles will be presented and further explained. For the time being, it should be clearly understood that the messa di voce exercise is an advanced training tool. It should not to be casually applied by an inexperienced beginner. The messa di voce has been mentioned briefly here to connect the singer to the great past of empirically successful vocal training practices. The pianissimo approach to evoking or attacking a selected pitch, in order to develop it, outlines the first phase of a messa di voce exercise. When this precise pianissimo, detached falsetto starter-pitch has been correctly accomplished, the singer has only come to know the first phrase of the messa di voce exercise. To most individuals, this first phase feels and sounds false, and completely unrelated to what is perceived to be a professional, performance tone. And they are usually disappointed to learn these facts.

More about the three distinct, separate layers of the vocal cords participation

It was highly unfortunate that the earlier teachers of the bel canto period gave the name falsetto or whistle voice to the first layer of the messa di voce exercise. Doing so seriously mischaracterized the falsetto voice as being false and useless, for training the singing voice. The word falsetto, as it is currently used, often refers to the upper, female sounding pitches of all male singers. The same tones of all female singers are often referred to as the whistle voice. Besides this detached falsetto first layer of the vocal cords participation in tone production, there exist a second and third layers. Each separate, individual layer represents an increase of the vocal folds participation with a selected, pitch.

The 1st Layer is called the detached falsetto voice.

The 2nd Layer has been named the voix mixte, by the French, and la voce faringea, by the Italians.

The 3rd Layer is called la voce piena, meaning in Italian, the full voice.

These three layers were first discovered and named by the teachers of the post bel canto, dramatic and verismo periods of vocal composition. The Italian School of that period was located in Naples, Italy. Its principles were taught by a great Italian tenor named Giovanni Sbriglia, and many lesser known teachers. The French School was located in Paris, France. Its principles and practices were taught by both Giovanni Sbriglia, and the great Polish tenor, Jean de Reszke. Giovanni Sbriglia was a great and famous tenor in his own right. He once toured America in concert with Jenny Lind. Sbriglia and de Rezske frequently worked together, since it was Sbriglia, the older of the two, who transformed Jean de Rezske from an unsuccessful baritone to a superstar level tenor.

Jean de Rezske was the reigning tenor of the Metropolitan Opera during the latter part of the 19th Century. After he retired, his crown, as international primo tenore, was passed dow to Enrico Caruso, at the beginning of the 20th Century. De Reszke then went to Paris, where he joined his old voice teacher Giovanni Sbriglia, and there they both taught voice. More about the three layers of participation of the Vocal Cords Folds

All three layers of participation of the vocal cords folds are operating simultaneously when the singer has completed the building and blending of all the pitches of his/her complete range. This can only be done by applying seemingly endless performances of the messa di voce exercise to them. When the messa di voce exercise has been successfully accomplished with each and every single pitch of the singers complete range, all the inherent antagonism which existed between the chest and head voice registers, at the outset of vocal training, will have been completely eliminated. All the principles and practices of the messa di voce exercise were totally abandoned during late 1950 and earlier 1960s, in America. Once that occurred, voice teachers turned away from the often confusing and difficult to understand idiosyncrasies and complexities of the head voice register. They then began using the less subtle and less time consuming chest register approach, exclusively. That meant that few if any students were being taught the critically principles of the three layers of the vocal cords participation, required to fully develop all superior tones. The bottom pitches of the chest voice register gave these new speedy teachers a false belief that with the exclusive use of the chest voices contribution, they could more facilely and more quickly grant their students superior singing voices. Of course, this brought about a total disconnect from all the empirical, sound principles and practices of the Neapolitan and Paris schools of vocal training. Consequently, all the surefire success and empirically sound principles and practices of those glorious periods of voice training were put aside, and eventually lost. Afterward, all head voice principles of vocal training fell into complete disuse; slowly they were replaced by the chest voices principles and practices. Consequentially, the critical need for the student to understand and correctly apply the motor force of the breath to all his/her tone also vanished. Therefore, it was easy for the teachers of that hectic social period period to convince their students to use the chest voice exclusively, instead of the force of the breath. This is because the chest voice does not operate by using of the motor force of the breath, which, admittedly, is very difficult to understand and apply. It operates exclusively by evoking, then sustaining a selected pitch by puffs of energized breath, instead of by forced resonance. This disuse of the breath force allowed lazy students from applying the motor force of the breath exclusively. to all tones. Abandoned, too, were all the old, sound and highly successful methods of applying the various dynamics of the breath force to each and every pitch situated along the length of the resonance

channel, and then into a specific resonance cavity. Likewise, the methods of creating the five classical Italian vowels in their purest forms were also abandoned, then, were totally forgotten.

Some Important Advice to Young People

Presently, too many hopeful vocal students unknowingly, but very arrogantly select a particular quality of voice, usually one of brilliance, which highly pleases them. Then they try to establish that favored quality with all the pitches of their complete ranges, directly, without the help of the mixed voice. This means that they are naively, but determinedly going against all the tried and proven principles and practices of the old Italian school, which, when properly applied, slowly and gradually progresses the undeveloped voice from a cautious, soft, powerless starting point, to full development. They diligently applied all golden rules of the Old Italian School to all the pitches of their complete ranges, along with utilizing the five classic Italian vowels, in a special sequential order. That specific orders has been presented been clearly presented in this Blog Entry. For any serious vocal student to bypass and ignore this classic, historical, empirically tried and proven approach of the old Italian school of voice training, is to recklessly throw all reason and caution to the wind, and instead, decide that you know whats best for your singing voice.

I sincerely implore all of you young peopledont! Instead, give my sound advice some serious thought and consideration!

Thank you. The end of this Entry

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Thank you once again for your attention and patiencelooking forward to our next session

Let me hear from you www.operarella@gmail.com.

If you wish to speak to me, leave me your telephone number and when I have a few free minutes from my busy schedule, I will call you.

Entry #6 Part 1 Exercising all the pitches of your Wide Passaggio

So, youve decided to exercise your singing voice. Enthusiastically, you go to your piano and select a pitch, then proceed to produce it with your singing voicebut wait! Do you know precisely what you are doing? What results you expect to attain?What muscles you are going to employ? And, by what precise physical procedures those muscles can actually be strengthened, and can transform your voice? Or, are muscles involved in the process, at all? Or, is vocal development an aesthetic process that does not involve muscles? Seldom do the majority of hopeful, young vocal students know the correct answers to the above questions. Yes! Various muscles are indeed involved with the process of developing a superior singing instrument! And, it is critically important for the student to understand that no matter what vocal aesthetic he/she wishes to achieve, without first completely and correctly forging their vocal instruments, complete aesthetic fulfillment will forever elude you. A thoughtful, accurate performance of a vocal exercise

Since our forthcoming exercises deal the wide passaggio tones, it will be helpful for you to review Entry #3 of my Blog. Below are three illustrations that show the wide-passaggio tones for all singers, male and female, of all vocal categories:

When applying a selected exercise to the pitches of the wide-passaggio, it is most advantageous for the potential success of the exercise to start with the G-Natural pitch above middle C. This is true for all voices, male and female, of all vocal categories. The singer should then descend the range to the next lower pitch to be exercised. The goal is primarily to establish control of each of the wide-passaggios ten half-tones, and with the muscles of the head voice register. Ultimately the singer seeks to carry the head voice register;s muscular controls downward in the range to the bottom pitch of the wide-passaggio, which is the B-Flat below middle C. This can be accomplished through applications of forthcoming exercises. As a result of upward forcing exercises, while using the raw chest voice, or doing some technically incorrect singing, the ten half-tones of the wide passaggio are generally found to be negatively dominated by the muscles of the chest voice register. This negative chest register domination must be totally undone. Instead, all ten half-tones of the wide passaggio must come to be controlled and dominated by the muscular controls of the head voice register. The process of removing all negative factors from all the pitches of the wide-passaggio will require the singer to apply the detached, falsetto u (oo) vowel to all of its ten half-tones. Singers whose wide-passaggio pitches are incorrectly and negatively controlled by the chest voice register are seldom aware of that fact. They naively believe that only a few pitches within

the area of the registers break (which is located between E-Natural and F-Natural above middle C), are frequently not functioning well. They assume that because many pitches below the registers break and many above it are functioning just fine, and that their vocal problems are few, and that can be easily and quickly fixed. Of course, these concepts of their singing voices are incorrect, and merely wishful thinking, on the part of unknowing singers. These singers seldom realize that their vocal problems do not involve simply a few pitches, but instead, they involve many. They do not understand that a large section of their complete range has become incorrectly placed or arranged, through false mental concepts damaging vocal exercises. The forgoing negative factors have rendered their voices dysfunctional. These singers must accept that all their inappropriately placed pitches must all be completely rearranged. And afterwards, they must be correctly placed in their proper anatomical positions, along the wide span span of their complete ranges. Otherwise, these singers will never obtain correctly functional singing voices. In the past, superior voice teachers understood and acknowledged how to apply the principle of voice placing. But, like many other important, invaluable vocal training principles from the past, this one was thrown out and forgotten. This is what David A. (1860-1938), stated concerning Voice Placing, in his 1917 vocal manual, The Head Voice and Other Problems:

If the scale, power and quality, and compass of the human voice were established as are those of the piano, the great problem in the training of the singer would be much simplified, possibly eliminated: but the singer is repeatedly obliged, while in the act of singing, to form the pitch, and its accompanying vowel, and its power and quality, for each individual tone that he/she uses; therefore, the singer must constantly face the problem of how and where to properly place each individual tone, in order to sing it musically and correctly. During earlier periods of voice training, from approximately the 1950s and backward in time, in many voice training circles, we frequently heard bantered about such remarks as: Mr. S knows how to place the voice, but Mr. G. does not. Mr. B places the voice high. Mr. R does not place the voice high. Mr. X is best at placing the voice forward. Mr. Z insists that one should not place the voice forward, since doing so denies the singer the proper method of directing the breath flow backwards along the resonance channel, and into its appropriate resonance cavity. Possessing superior skill in appropriately placing a students singing voice requires special knowledge of how to position and connect the larynx properly to the pharynx. In this manner, when both the larynx and the pharynx are energized by the force of the breath force, they interact with each other in a synergistic manner, and together, they are capable of producing superior basic vocal singing tones which neither the larynx and pharynx, operating

alone, could not accomplish. This demands that the larynx must never be forced to respond rigidly, nor should it be firmly anchored in an extremely low position and rigidly maintained there by the singer while actually singing. The highly confusing, frequently misunderstood, seldom applied, but highly curative, detached falsetto u (oo) vowel, as it is pronounced by native Italianswhile they are singing

While teaching, I sometimes refer to the detached falsetto u (oo) vowel as the eraser, and at other times as the neutralizer. Thats because, over a long period of years, I have learned that the hollow, detached falsetto u (oo) vowel (detached from all connections to the power of the chest register) can remove, or erase the negative effects of all wrong, injurious exercises which have been applied to any given pitch (over a long period of time) and return that pitch to a state of freshness and good health. And most importantly, the detached falsetto u (oo) vowel can return that pitch to its original state, as it once was before all abusive exercises had been applied to it. Very few singers realize that you cannot impose new, correct vocal training procedures and exercises upon an abused pitch until the negative muscular effects of that abuse have been totally removed. In many such cases, with abused pitches, it takes quite a long time to bring them back to a neutral state of freshness and health. An occasion could arise when we would apply one of the remaining four vowelsthe i (ee), e (eh), o (oh), or (ah)instead of the u (oo) vowel, to any of the pitches of the wide-passaggio. But whichever of the other four vowels might be chosen, the decision to do so would have to be based upon that particular vowels individual contributions to the selected exercise, being use like a tool, because it wold be the appropriate vowel to accomplish the specific structural need of the moment. The above is stated, at this point, to suggest to my readers, and especially to voice teachers, that they must become aware of the great individuality of each of the five classic vowels, and also of each vowels contributions and advantages as a structuring tool. These factors will be addressed in more detail, as we move on. But before doing so, we present two illustrations of the pitches of the wide-passaggio, in their ideal descending order. The first illustration is for all female singers and all Tenors; and the second one, for all Baritones and Basses. No particular vowel has been assigned to these pitches, in order to allow the singer the option of applying any of the five classical Italian singing vowels which seems appropriate for the moment, and to the present exercise.

The process of muscularly developing an individual pitch

Now that we have identified the ten half-tones of the wide-passaggio and made some important comments about them, lets get right to the precise ways in which to develop each and every one of them to their fullest potentials. The physical act of evoking a particular pitch, for exercise purposes, involves a series of physical maneuvers which must be performed in a specific, sequential order. If performed otherwise, immediate failure will result. Here is a brief sketch of that precise, sequential order. However, before actually performing any exercise, lets establish some helpful mental imagery: When exercising the voice, or actually singingthe process of evoking any and all tones of the singing instrument begins with a proper and rather exaggerated inhalation of breath:

1)Inhale a deep, exaggerated amount of breath through your open mouthnever through your nose! Draw the breath slowly inward and downward through your lower wind pipe, then further downward into your lungs. In response to this incoming air, your lungs will gradually expand outward in all directions, and your diaphragm will lower itself and assume the shape of an inverted bell. Your diaphragm will also expand outward, in a circle, all around your waist. Afterwards, make sure that your lower jaw is loose and not being held tightly nor rigidly. To understand this, you can gently sway your lower jaw to the right and then to the left, a few times, to check for its looseness. Also make sure that your tongue is loose; swirl it gently and slowly around a few times within your mouth cavity (Now, set aside the breathing apparatus for a while). 2)Now, mentally and silently select the G-Natural above middle C pitch, with a detached, hollow falsetto u (oo) vowel (See the illustrations above, showing all the pitches of the wide-passaggio, appropriate to your own vocal category). Now mentally and silently imagine that you must direct the compressed air, which you are purposefully holding back within your lungs, upward along the resonance channel to a specific spot at the upper rear of your mouth cavity, and behind your soft and hard palates. This is where the entrance to the head voice and its resonance cavities are located. This spot is the only place along the full length of your complete range where you can access the muscles of the head voice.

These head voice muscles are very flexible and highly adjustable. They are capable of being adjusted to various different positions which, when energized by the breath force, produce the five classic singing vowelsu (oo), i (ee), e (eh), o (oh), and a (ah). It is seldom understood that each of the five classical Italian vowels, in its distinct, purest form, is physiologically vastly different from the remaining four vowels. Each individual head voice vowel, when properly arranged in its appropriate place in the upper posterior area of the mouth cavity, possesses its own particular throat-socket. To form a pure vowel and then place it correctly into its precise

throat-socket, at a specific position along the length of the complete range, involves help from the muscles of the lips, cheeks, and tongue. The chest voice muscles, by contrast, are very rigid and highly limited in their movements. The chest voice muscles are predominately and exclusively involved with the production of the speaking voice. When training the singing voice, and while actually singing, one of the most difficult tasks for the singer to accomplish is to render the muscles of the speaking voice totally passive, and instead, to produce all singing voices pitches exclusively with the energy of the breath flow. Any method of evoking a singing tone other than with the energy of the breath force is incorrect and potentially damaging to the singing voice. To accomplish the particular vowel which accompanies a selected singing tone, the singer must use a method similar to the manner used by ventriloquists. Student ventriloquists practice for hours to suppress the highly visible muscular movements of their speaking voicestheir cheeks, lips and tonguewhile simultaneously trying to accomplish clear, projecting pronunciations of the vowels and consonants of the vocal pieces words. They do so by employing their totally unseen head voice muscles. When ventriloquists are successful at accomplishing all that and perform with their dummy-partners, it appears to their audience that it is their dummy-partners speaking, not themselves. Note that the word ventriloquist employs, at its beginning, the syllable vent , which means wind or air. All great singers become masters at evoking, prolonging, and regulating the intensity dynamics of their great, mystifying singing voices with the energy force of the breath, in a manner similar to the one used by ventriloquists, (as described above). The great Italian tenor Enrico Caruso advised singers to attempt to sing upward from the bottom of their ranges while keeping their cheeks movements passive, and their lips almost completely closed. To acquire a clear mental picture of the physical maneuvers explained above, you will have to have successfully performed many of the forthcoming exercises. Only then will you will come to understand that while you are actually singing you cannot use the force of the speaking voice, or the chest registers muscles, at all. Instead, you must use the head voice muscles to evoke a selected pitch and its accompanying vowel, with the force of the breath. Like a ventriloquist, you must use your internal, unseen head voice muscles, located at the upper posterior area of your mouth cavity, and above and behind your soft and hard palates. Through your own empirical experience, you will then come to understand that although all five classical singing vowels use the same exact group of head voice muscles to produce each individual pitch and its accompanying vowel, each individual pitch requires a different arrangement of these same head voice muscles to accomplish and fulfill it.

Dont be concerned if presently all this seems extremely complicated, unconventional, and perhaps bizarre. After you have gained some practical experience with the forthcoming exercises, which utilize the above principles, it will all become very clear to you. Becoming familiar with intensity of the breath force, the pathway which it must travel, and the precise way to apply its power, in order to strengthen a particular pitch and its vowel throat socket

The only way to develop the strength of a particular pitch and its accompanying vowels throatsocket is to apply various incrementally increased levels of breath intensity to it, and then give your voice a rest. This involves many applications of the messa di voce exercise. The messa di voce exercise instructs the singer to select a detached falsetto pitch with a soft dynamic or volume (and any one of the five classical singing vowels), and then to gradually increase the amount of breath tension being applied to it (heading toward a forte dynamic.) Then, without taking a new breath, return the same pitch to its original, soft dynamic. While doing this, the singer must be sure that the pitch in question is being produced almost exclusively by the energy of the breath force, and not negatively by forced resonance. Forced resonance involuntarily involves calling into play the undesirable, damaging muscles of the speaking voice. But, be aware that Manual Garcia, pre, declared that the messa di voce was not a beginners exercise. And Garcia, pre was right, since a beginner, while attempting to apply the messa di voce exercise, runs the risk of blocking off and stopping the critical flow of the breath force. When then occurs, is that the singer is unavoidably compelled to call into play the negative force of the chest voice muscles, which is highly undesirable. Now, select the G-Natural top pitch of the wide-passaggio, and try to produce it with an extremely soft, detached falsetto, hollow u (oo) vowel. This means that for a few seconds, you must pre-think through the process, mentally imagining how to precisely go about doing it. All the great voices teachers of the past considered this mental pre-thinking step to be of major importance. This is because the entire process of structuring a superior singing voice and then actually singing with it is primarily a mental process, and secondarily a physical one. Do not be concerned that you may make a mistake, or that you will produce an unattractive sound. The first phase of voice building makes great allowances for unattractive sounds, and radically clumsy failures at producing certain notes, especially in the beginning. To succeed in producing the assigned soft, detached falsetto u (oo) vowel when your singing voice has been abused by harsh, ascending, chest voice exercises employing the raw (ah)vowel, is like asking a cow to sing Gilda in Verdis Rigoletto. Dont despair if you fail to accomplish it. It merely means that your chest voice muscles, if that be the case, exerted a stronger influence upon your top range than did your weak and

undeveloped head voice muscles. Therefore, you may be obliged to make a temporary compromise, and attempt to produce the detached falsetto u (oo) vowel with one of the lower pitches of the wide-passaggio, other than the originally assigned top G-Natural pitch. With each successive new attempt to establish a soft, detached falsetto u (oo) vowel, make sure that it is a hollow tone, and is totally devoid of all vibrant power. Also, make sure that you are blowing a strong current of breath into the pitch. Another helpful, temporary trick is to mentally arrange your throat-socket into the position of a silent o (oh) vowel, and then try to produce the breathy, detached falsetto u (oo) vowel. If that doesnt work, try to produce a soft, breathy detached falsetto u (oo) vowel anywhere in your complete range. Eventually you will succeed with the suggested top G-Natural pitch of the wide passaggio. One way of assure that you have established the correct detached falsetto u (oo) vowel is that, when you finally believe that you have done so, you will be able to facilely prolong that successful u (oo) vowel pitch for quite a long time (providing that you have initially inhaled an exaggerated amount of air). Even when a successful detached falsetto u (oo) vowel has been achieved outside the range of the wide-passaggio, and instead, within the borders of the chest register, located below it, with continued applications of your version of the correct u (oo) vowel, you may eventually succeed with the originally assigned top G-Natural pitch of the wide-passaggio. When you finally succeed in producing the correct, detached falsetto u (oo) vowel, and on the breath flow, it will be because in your own way you have arranged the passageway along the resonance channel leading to the top G-Natural pitch, in such a way as to allow the breath to flow all the way upward through the vocal passaggio, to the throat-position of the top G-Natural, and then to all pitches above it and, not because you have learned how to pronounce the u (oo) vowel correctly. Successfully producing and facilely sustaining any of the wide-passaggio and the higher pitches located above it, is not merely the result of achieving correct pronunciation. It is instead, because of having correctly arranged the muscles of resonance channel, leading to those particularly difficult to produce tones which enables the breath force, to travel swiftly and uninhibitedly upward to those desired note (s). Once you have succeeded in establishing a correct, extremely soft, detached falsetto tone with G-Natural pitch, you may now proceed to the next phase of the exercise. The Force of Breath Intensity As mentioned earlier, it is generally accepted throughout the worldwide community of individuals seriously involved with vocal pedagogy, that in order to strengthen an individual tone it must be subjected to incremental increases in breath intensity. Then afterwards, the voice should be rested. Once having been agreed upon that, there still remains many critical unknown factors regarding how to properly apply the intensity force of the breath stream to a given pitch,

to fully develop it. These unknown factors have never been clearly presented nor explained to the vocal training community, at large. The above mentioned, unknown factors are these: That the same pharyngeal or, head voice muscles which are located in the upper, posterior area of his/her mouth-pharynx cavity, and which the singer arranges different way, in order to produce one of the five classic Italian vowels, must be arranged in a completely new and different way to produce any of the four remaining vowels. This means that, vastly different muscular arrangement of the laryngeal and pharyngeal muscles or needed for the singer to accurately produce all five of the classic Italian singing vowels. Presently, most professional singers, singing on the stages of the international opera houses of the world, do not sing all five classic vowels, with all the pitches of their complete ranges. They cant even sing some of them, such as the u (oo) and i (ee) vowels in a compromised form, much less in a superior, ideal and recognizable form. Missing from their voices are the pure u (oo) vowel, which they distort towards an o (oh), or even more inaccurately, towards the a (ah) vowel; and the i (ee) vowel, which they distort towards the e (eh) vowel. This occurs most frequently in their upper middle and top ranges. And their listeners never hear a pure i (ee) vowel, in any sections of their complete ranges.

There is false theory floating about many American vocal studios, that female singers cannot sing a pure i (ee) with their top notes. Ive personally heard some great i (ee) vowels pour out of the throats of Zinka Milanov, Victoria De Los Angeles, Hilde Guden, Dorothy Kirsten, Licia Albanese, Helen Traubel, Rse Stevens, and many other great sopranos.

Understand that, you cannot fully develop all five vowels at the same time, and at the same rate of growth. They can only be individually developed, during different phases of training, and in a preferential order. The middle and top ranges tones respond better and faster with the u (oo) and the i (ee) vowels. The tones of the very bottom of the complete range, where most contemporary vocal structuring errors are made, must be totally deprived of the raw (ah) vowel, which it readily favors. Most inexperienced individuals erroneously believe that that lower area of the complete ranges, where projecting power power is so easy to access, should be used as the model and springboard for the rest of the singers complete range of tonesall the way to its very top. This is totally and radically wrong. Instead, all the loud tones of the bottom range must be produced very softly, in the manner of a sigh, especially at the beginning of training. They must also be saturated with the influences of the hollow, detached, falsetto head voice u (oo) vowel. Much later, after the head voice has been greatly strengthened and mixed with all the bottom pitches, these pitches can be sung more intensely and aggressively.

The varying relationships of the breath flow, to the five classic vowels The detached, head voices breath-flow enabling vowels: The u (oo) and o (oh), and the a (ah) vowels, and their modified versions: the AW, the UHD, and the WHOO sounds. When developing the singing voice, another important factor to consider is the different relationship that each vowel has to the flow of the breath stream. It is seldom understood that three (3) of the five classic vowels enable the power of the breath stream to flow freely. And that, two (2) vowels strongly inhibit the power of the breath stream from flowing.. The breath flow enablers are the u (oo), o (oh), a (ah) vowels, along with several modified versions of them, such as the AW, UHD, WHOO sounds. These vowels and their modifications automatically arrange the various muscles of the complete range so that when they are employed they allow the dynamic force of the breath stream to flow directly and unimpeded to the pitch being currently exercised pitch, without being slacked off, dissipated, blocked, or totally cut off. During the earlier phases of vocal structuring, the u (oo) and o (oh) vowels must be used more frequently and for a longer period of time than the i (ee), e (eh) and a (ah) vowels), because the u (oo) and i (oh) vowels help the singer to send the greater intensity of the breath force to the detached falsetto pitch and its accompanying vowel, which are being currently developed. The detached falsetto u (oo) and o (oh) vowels help to define the positive and highly desirable roundness of tone and its throat-shape, and liquidity of movement, where superior singing is concerned. They also deny all undesirable chest voice rigidity, and lower jaw rigidity.

The chest voices breath flow disabling vowels: The i (ee) and the (eh)

The chest registers versions of the i (ee) and e (eh) vowels are both breath-flow disablers. This explains why they are seldom employed in contemporary vocal training practices. However, by stark contrast, the head voice registers versions of the i (ee) and e (eh) vowels represent two of the most important and helpful tools of superior vocal structuring. However, merely identifying a correct head voice version of the i (i) vowel, and precisely knowing the methods of employing them have long ago disappeared from practically every voice training studios in the world. Shortly, those practices will be explained in great detail, as well as how they should be applied to the to ten half-tones of the wide-passaggio.

Now, lets go directly to the exercises that are used for developing the wide-passaggios ten half-tones. They utilize the breath flow enabling vowelsthe u (oo) and o (oh); plus their helpful modificationsthe AW, HUD, and WHOO sounds. Let us assume that you have correctly learned to how evoke one of the wide-passaggios pitches, (preferably the top G-Natural, and its accompanying detached falsetto u (oo) vowel) vowel, which should be a soft. The first phase of muscularly developing that pitch involves, simply, prolonging it for as long as possible by continuously supplying to it a soft, gentle, but firm stream of the breath force. Meanwhile, there are many other critical factors that must be monitored, to perform the exercise in its proper form. Care must be taken that the flow of the breath force, which both produces and prolongs the note, must be continuously fed to it in a steady, uninterrupted stream. If the breath stream stops, even minimally, the purpose of the exercises has been defeated. The singer must then stop the pitch, rest the voice, and then make a new start. With the new startonce the same G-Natural pitch as before has been reestablished, and with the same standards as the first version, the singer must astutely monitor the muscles which produce the u (oo) vowels purest throat-socket. The English language, as spoken by native Americans, does not operate predominantly on pure vowels. American English differs greatly from the Italian language, with its extraordinary helpful and its influence upon all five classic singing vowels. Instead, American English operates on rapidly shifting diphthongs and exaggerated emphasis upon the consonants. The dictionary defines consonants as blocks to the general emission of basic vocal sounds. As a consequence, most American vocal students unconsciously (and sometimes consciously), allow their pronunciation of the five Italians singing vowels to blur, and distort from their purest, precise Italian pronunciation form. This is a cardinal offense, where the standards of superior singing are concerned. It must be checked and corrected as soon as possible. At this early phase, it must be clearly understood how important it is for all vocal students to establish the purest form of each vowel. As all exercises advance, they will demand greater increases of the breath intensity, and even greater purity of all five vowels pronunciation. Once the singer has repeatedly performed this phase of the exercise, in the above prescribed manner, he/she is ready to proceed to the next lower pitch of the wide-passaggio, which will be the G-Flat above middle C.

[We must digress, momentarily, in order to inform all female singers that although the ten halftones of the wide-passaggio are located at the lower end of their complete ranges, where their true Registers Break is located, most female singers hold that they possess not one, but two Registers Breaks. And, two vocal passaggios; an upper passaggio, and a lower passaggio. This theory is not based in fact. However, it grants many benefits to all female singers, since

both their upper and lower passaggios involve many similar structural procedures and exercises which can be utilized for the full development of the itches involved. However, it is much more difficult and time consuming for all female singers to properly and fully develop their lower, true passaggio. Therefore, female singers who find it difficult to perform the forthcoming exercises with their true lower passaggio should instead, temporarily, apply them to the same pitches of their upper passaggio. The same exercises applied to the upper passaggio will exert many beneficial influences upon that area of their range, and the positive results they grant eventually make it possible to these female singers to return to their lower passaggio, and successfully perform the forthcoming lower passaggio exercises.]

Each individual pitch of the wide-passaggios ten half-tones is structurally very different from all the remaining pitches of the wide passaggio, and different as well as from all other pitches of complete range. The wide-passaggios pitches are more more critically dependent upon the help of the mixed voice muscular controls, to function properly, an allow the singer to continuously succeed in using them, than all the remaining pitches of the complete range. With each individual pitch of the wide-passaggio, the singer must take special note that, while ascending the range of the wide-passggio each individual note must be capable of sustaining a larger amount of positive chest voice power, to fulfill it accurately and musically. This can only be successfully accomplished if the singer possesses the mixed voice, which allows him/to facilely summon up and to apply a sudden increased amount of breath flow, to keep the negative weight of the chest voices positive contributions to the tone. When there is an excessive amount of the chest voices positive contribution to the prsently sung pitch, it adds troublesome width and bulk to it, which could possible deny the singer free and accurate passage through the wide-passagggio, and then to ascend further upward, to pitches the Top Range. With each successive higher pitch of the wide-passaggio range, the singer must assure that the breath force is continuously flowing without interruption. This is accomplished by the singer omitting a quickly aspirated puff of breath, seconds before changing from the throat-socket of presently sung note, over to the next higher note, of the vocal phrase or vocal exercise. This is done in order to release the singers throat completely from the presently throat-socket and its accompanying vowel, and then to quickly transfer the energized pulsing force of the breath stream over to the next higher notes vowel throat-socket, and correctly establish it and its accompanying vowel. Once this technique has been accurately learned, then performed successfully, over and over, all the above maneuvers will no longer seem so confusing nor complicated to perform. As you descend the range of the wide-passaggios pitches from the its top G-Natural pitch, note by note , to its bottom pitch of B-Flat below middle C, each succeeding lower notes vowelthroat-socket must be matched to the vowel-throat-socket of the top G-Natural pitch.

While descending through all the pitches of the the wide-passaggio, and after you have passed the Registers Break (which is located between E-Natural and F-Natural above middle C), you will have to diminish the volume of each succeeding lower pitch, and also the force of the breath flow. This must be done done because, once you have arrived the B-flat pitch below Middle C, for all male singers, and the B-flat pitch below C2 for all female singers, you have entered into the lower section of the chest register. Recall now, that this particular section of the chest register had had originally been owned and controlled by the chest voice muscles. But they were restructured and reassigned to the muscular controls of the head voice. Therefore, every time you sing downward through the wide-passaggio and reach this particular B-flat, (as it was just specifically assigned above to male and singers, above), you must never allow the muscular controls of the chest voice to repossess control of these pitches. This will be discussed in greater detail later on There are great developmental benefits to be gained from simply and repeatedly starting at the top G-Natural pitch of the wide-passaggios ten half-tones, and then descending the range downward, pitch by individual pitch, using a very soft, detached falsetto, hollow u (oo) vowel with minimum breath intensity, in order to maintain the u (oo) vowels throat socket as purely as is possible. With each lower pitch of your descent through the wide-passaggio, it is imperative that you do not depart from the muscular controls of the mixed voice. If that should happen, the presently sung pitch will likely crack and fall downward into the muscular control and dominance of the chest register. This particular assignment, descending from the top G-Natural pitch of the wide-passaggio, and completely through all of its pitches, must be performed repeatedly, and over perhaps a period of an half hour, while employing a very soft detached falsettos hollow u (oo) vowel, is highly productive. While doing this, the singer should not attempt to sing any pitches above the top GNatural pitch of the wide-passaggio, nor below the lowest pitch of the wide-passaggio, which is the B-Flat below middle C. With the very low notes, the singer should not increase the intensity the the breath force to each individual, lower pitch. The above, simple approach may hardly seem capable of developing the individual strength of any of these ten, wide-passaggio halftones, but trust that it will. After repeatedly descending the range of the wide-passaggio from its top G-Natural pitch, and heading toward the wide-passaggios bottom tone, which is B-Flat below middle C, and while using the detached falsetto u (oo) vowel, each individual pitch of the wide-passaggio (especially those pitches from F-Natural above middle C, downward in the range to the B-Flat below middle C becomes permanently re-assigned to muscular controls of the head voice, and respond they to each other in a new manner. One important and immediately noticeable improving, resulting from this new arrangement of all the pitches of the wide-passaggio, is that the pitches above and below its borders begin to feel more relaxed and to respond loosely and flexibly, as opposed to their previous behavior of of vocal rigidity, caused by the highly rigid and inflexible muscles of the chest voices unwanted participation.

Now, all the pitches of the wide-passaggio can be further developed and arranged so that they will grant the singer the rarest of all vocal structuring accomplishment: A Full, Seamless Complete Range of beautiful, powerful or soft (when either dynamic is demanded), highly controllable tonessomething that even most professional singers today do not possess. In my next Entry, #7, we will proceed with our presentation of the developmental principles and exercises for the ten half-tones of the wide-passaggio. Throughout the detailed, ongoing presentation of them, do not make the common mistake that is currently and daily being made, in practically every American voice training studio, that of naively believing that you can indiscriminately add any amount of breath intensity to a selected pitch as you feel is appropriate. This temporary restriction of the fullest application of breath force force is necessary because, there exists a highly preferential order for applying increased amounts of breath intensity to any selected tone. There also exist inherent structural differences with each of the five, individual classic vowelsthe u (oo), i (ee), e (eh), o (oh), and a (ah). And each of these five classic vowels involuntarily adds its own individual level of positive chest voice participation to an advanced and completely developed tone. This preferential order of applying increased levels of breath intensity to a selected pitch is ruled over and regulated by the five classic Italian vowels, themselves. The detached, falsetto, hollow u (oo) vowel will again be assigned to many of the forthcoming exercises. You should not expect this particular u (oo) vowel, at this early phase of the process, to tolerate any more than the minimum breath intensity. But be aware that the detached falsetto u (oo) vowel is, itself, changing, due to all of its interactions with the remaining four vowels. With my next Bog Entry, # 7, we will be applying a detached falsetto, hollow o (oh) vowel, as before, but we will also be employing some modified sounds of the u (oo), o (oh) and a (ah) vowels. Take note that the u (oo), o (oh), and the a (ah) vowels should always be considered to be air-flow enabling vowels, as well as some of their modifications, such as the AW, UHD, and WHOO sounds. As stated earlier, all increases of breath intensity which are applied to any selected pitch, while performing a particular exercise, in order to fully develop it, places the singer, if not remaining alert, at risk of unintentionally cutting off the flow of the breath force. There is another important factor to keep in mind, for purposes of great singing. After the singing voice has been brought to its fullest state of glorious development, each and every tone of the singers complete range, while actually singing, will be manditorialy obliged to share the vibrato action of the vocal cords with the motor force of the breath flow, and on a 50%/50% basis, meaning50% breath flow and 50% vibrato action of the vocal cords. Some over enthusiastic singers, while singing, over intensify the force of the breath, in order to raise the brilliance level of the vocal cords vibrations to a super-brilliant levelespecially with their high pitches. While the vocal cords are being overly intensified, the rapid openings and closings of the glottis, which regulates the breath flow, as it rapidly exits from the lungs,

becomes hindered. Sometimes, times it completely get cut off. Naturally, this negatively effects the responses of the glottiss opening and closings and the percentage of the breath flowing through it. This, in turn, reduces the amount of breath pressure required by the presently sung pitch, to an amount that is much less than its appropriate 50% needs. More about this later on. Each vowel automatically exerts its individual influence upon a selected tone

As stated earlier, each individual vowel automatically increases or decreases the chest registers muscular influence and participation upon a selected tone. This factor can be experienced if one selects a particular tone, and performs the Ideal Passage through the five classic Italian vowels, without stopping to take a new breath. This Ideal Passage exercise must start with a soft, detached falsetto u (oo) vowel. Then the singer must pass on to the detached falsetto i (ee), then to the e (eh), then to the o (oh) and finally he/she will arrive at the a (ah) vowel. During this process of vowel changes, there will occur (and be graphically felt), an automatic and undeniable increase of lower register muscular participation. This rule applies to all the vocal states of development in which the vocal instrument may be found, whether it be a state of upper register dominance or a state of lower register dominance. Or, a state of harmoniously-structured vocal registers. Once the singer leaves the first u (oo) vowel and changes its throat-socket to the i (ee) vowel, there occurs an automatic and undeniable percentage increase of the chest registers muscular activity. A further percentage of the chest registers increased participation occurs when changing to the e (eh) vowel, and another increased percentage occurs when changing to the o (oh). One finally arrives at the a (ah) vowel, which increases the percentage of the chest registers participation to its maximum. For theoretical purposes, let us assign each vowel (after departing from the u (oo) vowelthe purest, and most detached of the five vowels), a 25% value, so that the total of these four vowels combined makes up 100% of the lower registers activity being added to a selected pitch.

The above vowel reference chart can be useful as vocal imagery to guide the singer, when applying the five classic Italian vowels.

Although these percentages may not be scientifically precise, a considerable increase of the lower registers muscular participation undeniably occurs with each successive vowel change. The opposite is true when performing the Ideal Passage through the five classic Italian vowels in reverse order, starting with the a (ah) vowel, which evokes the fullest connection of the lower register to the upper register. When the a (ah) vowel is operating the workload, necessary to produce and prolong the selected pitch, is operating at its highest level. As the singer changes the a (ah) vowel to an o (oh) vowel, then to an e (eh) vowel, then to an i (ee), arriving finally at the u (oo) vowel, he/she can graphically feel and understand these gradual percentage decreases of the lower registers muscular participation with each successive vowel change. The beginner should not become anxious if all the above seems complex and overly mechanical. With repeated references to and subsequent applications of these important rules regarding the five classic vowels (and how they each, individually, activate varying percentages of upper or lower register participation with a selected pitch) these concepts will become easier to understand. The End of this Entry ___________________________________________________________________

Entry #7Part 2Cc bi tp qung dnh cho Exercising all the pitches of your Wide Passaggio
Bi tp bt u bng nguyn m u (oo) (ging gi) sau chuyn sang nguyn m i (ee), tip theo ln lt l nguyn m e (eh), o (oh) v cui cng l nguyn m a (ah). Khi tp bi tp chuyn nguyn m ny, t ng cc c s tng ln, v bn thn cc nguyn m trong vm hng cng thay i.

_________________________________________________________________ Since we will soon be dealing with the same 10 half-tones of the wide-passaggio, it will be helpful to our readers to bring forth, from Entry # 6, two illustrations that show the precise locations of the wide-passaggios pitches (for all sopranos, mezzo-sopranos, tenors, baritones and basses), so that they can scroll to them whenever necessary, to see the precise pitches we will be discussing, and the exercises which we will be applying to them.

While the exercises for the 10 half tones of the wide-passaggio given in Entry # 6 used the detached, falsetto u (oo) vowel exclusively, the forthcoming exercise will employ the detached falsetto u (oo) vowel, and the detached falsetto o (oh) vowel as well. The detached falsetto u (oo) and the o (oh) vowels have a great affinity toward each other. They are both breath flow enabling vowels. They are also anti-rigidity vowels where the singers tongue and lower jaw are concerned. But these positive results are not available to the singer unless he/she produces them in their purest vowel forms, and when the o (oh) vowel is made to relate more toward the u (oo) vowel, rather than to the a (ah) vowel. Sometimes, it is appropriate to tune the o (oh) vowel toward the a (ah) vowel, but that will be explained later on. The muscles which are controlled by the detached falsetto u (oo) and o (oh) vowel exercises completely exclude the participation of the chest voice muscles, which tend to cause tongue and lower jaw rigidity. Instead, the head registers muscles which produce the detached falsetto u (oo) and o (oh) vowels allow the singer to respond to any vocal phrase or exercise in a very loose, malleable, and highly adjustable manner The detached falsetto u (oo) and o (oh) vowels, when employed together in a specific manner, serve to gradually overcome and eventually eliminate one of the most troublesome, recurring vocal problems. This problem has confused, frustrated, and hampered all singers since the historical beginning of vocal training. That problem is: While actually singing, the chest registers and the head registers ranges of pitches (each of which is controlled by separate, individual groups of muscles), have specific duties to perform. While the singer is attempting to accomplish these duties, the separate muscles which individually control them often get negatively entangled with each other. This causes the singers voice to immediately become dysfunctional.

This undesirable, negative entanglement situation is much feared and readily recognized by almost all professional singers. However, few of them, or their vocal teachers, seem to know the reason for the vocal crashes, and/or vocal lock-outs which they cause. Most amateur singers also experience these negative entanglements of the two registers, but because their voices are less developed than the voices of professional singers, and because they are usually also struggling with many other vocal problems, they cannot distinguish one negative cause, from another. Negative registers muscular entanglements repeatedly occur within specific areas of all singers complete ranges. These specifically involved areas, are shown in the two illustrations below:

The two illustrations above are for all female voices. They represent the specific pitches involved in the forthcoming exercises. They employ the detached falsetto u (oo) and o (oh) vowels. The illustration above and to the left represents the lower half-tones of the all female singers true passaggio. The illustration above and to the right represents the lower five half-tones of what most female singers claim to be their upper passaggio.

The illustration below shows the five lower half-tones of the Tenors wide-passaggio tones which are involved with the detached falsetto u (oo) and o (oh) vowels.

The C2 pitch, as it is notated in the illustration above actually represents the tenors middle C pitch (an octave below), and we remind all tenors that some time ago, in printing history, all the pitches of the Tenors complete range were transposed upward a full octave, for printing convenience.

The illustration below represents the lower 5 half-tones of the wide passaggio for all Baritones and Basses which are involved with the information and the forthcoming exercises that employ the detached falsetto versions of the u (oo) and o (oh) vowels.

Vocal Timbres Vocal timbres, from the perspective of the singers listeners, seem to be plentiful and varied. But vocal timbres, from the perspective of the singer, they are quite a different matter.

This is what Manual Garcia, pre had to say about vocal timbres:

Vocal timbres may be divided into two classes:

1. 2.

(1)The clear, bright and open timbre. (2) The dark and closed timbre.

These two opposite timbre qualities, bright and dark, are obtained principally through the agency of the larynx and the soft palate. The movements of the larynx and soft palate are always in a contrary motion. The larynx rises when the soft palate falls, and when the larynx falls, the soft palate rises. Almost all contemporary vocal training fails to take these important factors into consideration. Once the larynx is consciously lowered in an extreme manner, then held rigidly in that incorrect position, it will only allow the singer, while ascending the range, to produce inappropriate closed-throat dark timbres. This means that whenever the singer performs an ascending exercise scale or vocal phrase, and he/she arrives at the B-Flat below middle C for all male singers, (where the bottom entrance into the wide-passaggio is located), and B-Flat below C2 for all female singers, where all singers must switch from the dark (closed) timbres, of the lower register, over to the bright (open) timbres of the head register, he/she he/she will not be able to accomplish the highly critical switch over maneuver. More about the switch over points, and the lift up maneuver, later on. This is because his/her soft palate and tongue have not been trained to adjust from the dark timbres of the bottom register, to the clear (bright) open-throated timbresfrom the B-flat below middle C, for all male singers for all female singers from B-Flat below C2.

These open and bright timbres are essential to all 10 pitches of the wide passaggios tones, and also, all the pitches above the wide passaggio, upward to the very top of the range. Instead of the singer switching from the dark timbres to the bright timbres, he/she is greatly disadvantaged, and is forced to retain the dark, closed timbres of the chest voice. This negatively drives the chest registers closed and dark timbres further upward in the range than is allowed by the laws of superior voice building, registers blending, and a professional level of singing. While producing the pitches from B-Flat below middle C for all male singers, and B-Flat below C2 for all female singer, the basis positions of the lips must be made to protrude forward and away from the front teeth, while the singers cheek muscles remain in a rather normal position. This can be physically experienced by establishing a hollow u (oo) vowel, for all the pitches located below the B-flat switch-over pitch (relative to the singers vocal category), then passing from the hollow u (oo) vowel to the i (ee) vowel, then to the e (eh) vowel, the hollow o (oh) vowel, and finally to the a (ah) vowel. This will create a darker more closed throat vowel position for all these pitches. However when the singer switches from the lower registers dark timbres at B-Flat below middle C for all males singers, and at B-Flat below C2 for all female singers, while intending to ascend the range, possibly to its very top, then it become imperative that he/she switch to the bright timbres of the head register! When accomplish the switch over maneuver, there simultaneously occur many, muscular facial movements which can be clearly observed in a mirror: for one, the corners of the singers lips extend outward, horizontally, and the n they curl slightly upward, forming a semi-smile. And, meanwhile, the cheek muscles rise upward toward the eyes. As the singer passes on to each higher pitch of the ascending scale, these sane lips and cheeks movements become slowly , but increasingly exaggerated. After the singer passes over the top pitch of the wide-passaggio (which is G-Natural above middle C, for all male singers, and G-natural above C2 for all female singers), the corners of the lips curl further upward and the singers upper front teeth, and part of his/her upper gum, become visible to his observes. With the very top notes of the range, the cheek muscles rise further upward in an exaggerated fashion, toward the eyes, and cause the singers eyes to squint. To contemporary singers and their teachers, all the above may seem unnecessary and perhaps ridiculous, however, when these physical, easily seen maneuvers of the lips and cheek are not occurring (these visible muscles are not causative, but reactive to the motions of unseen, interior muscles movements), which create the highly desired, open-throat bright sounding timbres, upward in the range, from B-Flat below middle C for all male singers, and the B-Flat below C2 for all female singers, to the top of the range. There are presently three contemporary star tenors, one star baritone, and several medium weight (a voice midway between lyric and spinto soprano), star sopranos currently singing on

the international stages of the world who have gotten their careers off to a wonderful start. All of them are potential candidates for becoming historically legendary artists. However, they have all arrived at a critical point in their vocal development. They have become confused as to how to produce, and further develop the 10 half tones of the wide-passaggio. And and main cause of their states of confusion, centers upon each of them not knowing when, or precisely where in their complete ranges, to use the bright open timbers or the dark closed timbres. If they fail to solve their wide-passaggios complex problems, their careers will soon be in dire peril of suddenly ending. All these superior star artists must become masters at producing the clear (bright) open timbres of the head register with certain pitches of their complete range, and the dark, closed timbres of the chest register with certain other pitches of their complete range, if they are to continue their careers. Success at accomplishing this comes from clearly understanding that the muscular controls of the bright timbres and those of the dark timbres operate completely individually and separately from each other. Neither of them is dispensable, to all singing voices, of all categories.

All singers are obliged to apply the dark, closed-throated timbres from the B-flat below middle C downward in the range to the lowest pitch of their bottom range for all male singers, and for all female singers, from the B-Flat below C2 downward to the lowest pitch of the bottom range. And they must apply the bright open-throated timbres upward to the very top of the range from the B-Flat pitch below middle C for all male singers, and from B-Flat below C2 for all female singers.

And, while actually singing, they must know precisely how and where, within their complete range of tones, they should apply these different, opposing timbres. They must also understand that each of these timbres is controlled by entirely separate and opposing groups of muscles.

All female singers are reminded that the above rules for applying these bright (open-throated) timbres, or the dark (closed-throated) timbres can be applied, alternately, to the same pitches of either their upper passaggio, or their lower passaggio.

This critically important switch over pitch, is shown all male and female singers in the two illustrations below! Nature will not communicate this to you! It is an intellectual insight, and a vocal accomplishment, which comes to exist as a result of special knowledge, clarity and focus of mind, and ultimately. it can only be garnished by firmness and determination of the singers will!

More important facts to know about the detached falsetto, hollow u (oo) vowel

Inhale an exaggerated amount of breath, then produce a soft, hollow, hooty detached falsetto B-flat pitch on an u (oo) vowel, relative to your vocal category (see above illustrations, located towards the beginning of this Entry). This u (oo) vowel pitch must be produced exclusively with the energy of the breath. It may help to put a w consonant in front of the u (oo) vowelwooin order to avoid scooping and/or sliding above or below the assigned B-flat pitch. This can help to precisely intone the D-flat pitch directly into its dead center. The woo sound should be formed by pursing the lips extremely forward, away from the teeth, in a protruding manner. This has often been called the fish-mouth position. The woo sounds throat-socket should be formed far backward and upward, in the posterior area of the mouth cavity. There should be no attempt to swell the volume of this woo tone. The main purpose of this exercise it to prolong the selected pitch, with the force of the breath streams energy, for as long as possible, without altering its u (oo) vowel-throat socket, in the least. And most critically, the singer must not distort the u (oo) toward an a (ah) vowel. The singer must closely monitor the behavior of all the muscles that produce the u (oo) vowels throat-socket, while also noting the behavior of some of the other muscles involved in this task,

especially those of the lips and cheeks. And it is critically important, throughout the exercise, to maintain a loose tongue. The above exercise must be repeated, over and over again, in exactly the same manner, as it was performed the first time. This exercise may be performed for approximately fifteen minutes, then the voice must be rested. The same exercise may be performed again, an hour or so later. Then once again, several hours later, if time permits. All the exercises presented in this Entry must be performed for quite an extended period of time, before moving on to the next phase of the exercise. The singer must learn the value and benefits of proceeding slowly from one structural principle and its accompany exercise, to the next. The above approach is the ideal starting routine for all superior tones. It is also the ideal condition which allows the singer to add incrementally increased amounts of breath intensity to any selected pitch, and its accompanying vowel-socket. The breath intensity level will be automatically increased by changing from the u (oo) vowel to a detached falsetto o (oh) vowel, and this starts the development of the presently selected pitch. There must be no presumptions about what is taking place, no judgments of the expected results of this process, nor about the quality of the presently exercised tones, before or after the exercises have been completed. Time will eventually inform you, as to what you have learned and accomplished. These forthcoming exercises will be more clearly understood and their performances enhanced if the reader goes back to Entry #6, and reviews the rules given for the detached falsetto u (oo) exercises. Carefully consider the individual u (oo) vowel exercises, and each individual vowels throat-sockets response to each individual pitch of the ten wide passaggio tones, when each is evoked and then prolonged by the energy of the breath force. Remember, these individual u (oo) vowel exercise must be performed in descending direction, exclusively. Returning to our present detached falsetto u (oo) and o (oh) vowels exercises, our readers should be informed of certain facts concerning each of the five classic Italian vowels, with regard to their individual vowel throat-sockets, and how a particularly chosen vowel is capable of adding or subtracting various percentages of chest registers power and tonal brilliance to a selected pitch. This subject was briefly touched upon at the end of the previous Entry, # 6. Most voice students and their teachers, wishing to quickly create tones that possess diamondlike brilliance and projecting power, immediately attempt to accomplish brilliance and projecting power from the very beginning of training. Of course, this is an erroneous and counter-productive practice. There have been many promising singers who have studied hard and long, and have accomplished a complete range of beautiful sounding, easily produced tones, which still lack a sufficient amount of diamond-brilliance and projecting power. These frustrated singers often make the rounds of the various, popular voice teachers studios, hoping to achieve those qualities. Many singers travel long distances to New York City or San Francisco, or to Paris, Milan or Vienna, in order to subject their unfulfilled singing voices to the judgments of

whomever voice teacher has been recommended to them, as being the best voice teacher of present times. Most of these well-known teachers, after hearing the frustrated singers voice, then present their own professional opinions and solutions for their voices missing elements. Here are some ways in which these teachers express their opinions: You need to add more chest voice quality to all your tones, or, you have to learn how to support your voice from the diaphragm, or too many of your tones, especially in your passaggio, are too coveredand so on, and so forth. Whether these diagnoses and suggested solutions are accurate is for the singer to judge for him/herself. But, seldom do any of these supposed superior voice teachers dare to lay out, in advance, a clearly understandable, detailed program of what he/she would precisely do, to solve the frustrated singers vocal problems. But merely speculating about these proposed solutions is not acceptable. A truly superior singing teacher must readily and clearly explain exactly what the problems are, in simple terms which the singer can easily understand. Then, if agreed upon, the teacher and student acting as a team, go about solving these problems. After consulting with a superior voice teacher, the hopeful student, having been properly informed, can then seek out the advice of singer-colleagues, coaches, conductors, and medical specialists, presenting them with the new teachers diagnosis and projected plans for solving his/her vocal problems. Then he/she can listen to some their professional colleagues and associates opinions and suggestions.

Changing from the detached falsetto u (oo) vowels throat-socket to the detached falsetto o (oh) vowels throat-socket is critically important for understanding the correct method of increasing the amount of breath intensity that can be appropriately applied to the presently sung pitch, in order to develop it

Once the singer is confident that he/she has thoroughly understood how to correctly evoke the detached falsetto u (oo) vowel with the B-Flat pitch (as shown in the illustrations above), he/she is then ready to establish the same B-Flat pitch with the detached falsetto u (oo) vowel and gradually change it to an o (oh) vowel. While obeying all the rules that have been given to correctly accomplish that task, the singer slowly begins to change the throat-socket of the detached falsetto u (oo) vowel to the throatsocket of the detached falsetto o (oh) vowel. During the change of vowels, there must exist a generous flow of the breath stream, which must not be stopped, even for a moment. If you have correctly evoked the detached falsetto F-flat pitch with u (oo) vowel, there is a critically important factor that you must accomplish. You must detach the note from its u (oo)

vowels throat-socket, then rearrange the same muscles that allowed you to create the u (oo)s throat-socket, into the throat-socket of the new o (oh) vowel. While the singer is in the process of detaching a selected pitch u (oo) vowel throat-socket and starts toward the throat-socket of the o (oh) vowel, the pitch itself must constantly remain totally airborne, meaning on the breath flow, The ability of the singer to detach, alter, and reposition a particular vowels throatsocket, with the same pitch, both signifies and confirms that the pitch and vowel are operating totally on the energy of the breath force. It indicates that all the muscles involved in the maneuvers of changing from one particular vowels throat-socket to the throat-socket of a different vowel remain in a highly malleable and adjustable state throughout the process. When this correct manner of operating is employed throughout the change of vowel throat-sockets, the process clearly defines to the singer its opposite, incorrect method of the same vowel-changing maneuvers. The incorrect approach is characterized by forced resonance which employs the stiff and non-adjustable muscles of the chest register. Forced resonance has caused many present-day, voice training misconceptions and failures. During the correct process of detaching, altering, and rearranging vowel throat-sockets (on the same pitch, or from one pitch to another, one higher or lower), and while the pitch is totally airborne, prolonged, or suspended upon the breath flow, the selected note may tend to swivel about in the throat, either upward or downward, or alternating in both directions. The singer must assure that the pitch does not sway away from its proper vowel-socket, nor fail to maintain accurate intonation. However, the singer, in his/her effort to maintain the correct vowel throat-socket and accurate intonation, must not add any excessive breath tension to the tone. Otherwise, it will cause radical, undesirable movements of all the muscles involved in the process. This will immediately compromise the exercise. Let us return to where we left off with the change from the detached falsetto u (oo) vowel to the detached falsetto o (oh) vowel: As the singer departs from the throat-socket of the detached falsetto u (oo) vowel and begins to re-adjust the pitch toward the o (oh) vowels throat-socket, the o (oh) vowel will slightly resist being placed into the vowel-socket of the former u (oo) vowel. This is so because the throatsockets of the u (oo) and o (oh) vowels, which use the same muscles to form each of them but in a separate manner for, will not allow the singer to properly switch from the u (oo) to the o (oh) vowel, unless a totally different, but accurate o (oh) vowel throat-socket has first been prepared for the change of vowels. The singer must acknowledge the differences between one vowel throat socket to anothers, and technically learn to deal with that appropriately This can be more efficiently accomplished by moving the new o (oh) vowel slightly backward toward the rear of the throat, then lifting it slightly upward, then slightly forward again. Throughout these movements the breath force must be continuously flowing freely. This same approach is generally used every time the singer changes from one vowel to another.

Once the singer has properly located the new, detached falsetto (oh) vowels throat-socket, he/she must stabilize the pitch and the breath flow which then prolongs the selected pitch steadily and constantly. If the breath force has been dissipated, the singer should stop the tone and pause to think about what he/she has just accomplished. He/she must mentally retrace all the steps that were taken to accomplish the change from the detached falsetto u (oo) vowels throat-socket to the detached falsetto o (oh) vowels throat-socket. He/she will then come to fully realize how different in shape and throat-space the u (oo) vowel is from the o (oh) vowel. For instance, the o (oh) immediately and automatically broadens the throat-socket to a wider, larger throat-space than was demanded by the detached falsetto u (oo) vowel. The new o (oh) vowels throat-socket immediately feels stronger than that of the previous u (oo) vowel, and in fact, it is. The new o (oh) vowel immediately demands more breath support and a tighter diaphragm adjustment. But the singer must not casually intensify the breath support to a higher level of intensity. Instead, he/she must only add the precise amount of breath support needed to sustain and prolong the selected B-flat pitch, and its accompanying o (oh) vowel. This should be done for as long as he/she can supply the tone with the motor force of breath, and while maintaining the purest o (oh) vowel possible in its precise vowel throat-socket. If all the above requirements are operating fully, they confirm to the singer that the tone is being produced with the flexible and highly adjustable muscles of the head voice, and not by the rigid and non-adjustable muscles of the chest voice. After resting the voice for a while, perhaps for a full day, the singer may return to exercising his/her voice. However, this time, instead of restricting the exercise to merely the B-Flat pitch, the singer may perform the change from the detached falsetto u (oo) vowels throat-socket to the throat-socket of the detached falsetto o (oh) vowel with the remaining four pitches of this particular vocal pattern. He/she must also make sure that all the rules for accomplishing that task, as they have been presented above, are being properly applied. After successfully accomplishing the change from the detached falsetto u (oo) vowels throatsocket to the throat-socket of the detached falsetto o (oh) vowel, with the B-Flat pitch, the singer may now perform the same exercise with the remaining four pitches of the exercises pattern. It is suggested that the singer perform these exercise in the following order. After completing the initial B-Flat pitch, the singer should move downward in the range a half-tone to the C-natural above it, for all male singers, and the C2 natural, for all female singers, and with it, perform the same exercise. Then he/she should move upward and perform the same exercise with the D-Flat pitch once again. Then he/she should move upward to the D-natural pitch and perform the same exercise again. Then he/she should give the singing voice a good rest. Upon returning to these exercises again, descend the pattern from the top of D-D-Natural pitch and perform the transition from the detached falsetto u (oo) vowels throat-socket to throatsocket of the detached falsetto o (oh) vowel exercise with each successive, individual lower

pitch. Move downward to the D-flat pitch, then to the C-Natural pitch, then to the B-Natural pitch, and finally down the B-Flat pitch, which is the last pitch to be exercised. Earlier, we mentioned that the pitches of each individual register, the chest and head registers, are controlled by certain individual muscles. While actually singing, the muscles of each registers have specific duties to perform. But, while doing so, they sometimes get negatively entangled with each other and cause the singers voice to slowly, or immediately become dysfunctional. This negative entanglement factor is readily recognized and much feared by almost all professional singers. However, few of them, or their vocal teachers, seem to know the reason for these gradual or sudden vocal crashes and/or vocal lock-outs, nor how to deal with them. The solution to dealing with these entanglement problems can be obtained through all the previous, and the forthcoming exercises that assign the singer the task of moving back and forth from the throat-socket of the detached falsetto u (oo) vowel to the throat-socket of the detached falsetto o (oh) vowel. When these exercises are performed in the precise manner described above, on all the pitches assigned to them, they gradually separate the negative, rigid influence of the pitches of all singers chest register (from B-Flat below middle C, downward to the bottom of the range), from the positive, malleable, adjustable muscular controls of the head voice (from BFlat below middle C, all the way upward in the range of all singers, to its very top). All these changes of the vowel-sockets of the detached falsetto u (oo) and o (oh) vowel exercises represent the primary solution for overcoming these negative entanglements between the muscles of the chest and head registers. What these exercises specifically accomplish is to divide the complete range into two separate sections, the lower section, from B-Flat below middle C for all male singer, and B-Flat below C2 for all female singers, downward to lowest note of the chest register, and the upper section from B-Flat above middle C for all male signers, and B-Flat above C2 for all female singers, upward in the range, to the top of the head register. Once the division of the complete range into two sections has been accomplished in the manner described above, all the pitches from the B-Flat upward to the top of the range become loose, highly flexible, and easily adjustable. This is due to the fact that they are dominantly produced and controlled by the flow of the breath, and the muscles of the detached falsetto voice. After the singer has regained the use of these loose, flexible and highly adjustable head voice muscles, his/her singing voice has been freed from all negative entanglements of the head and chest muscles. Then he/she must carry the positive influences and muscular controls of those loose, flexible, and highly adjustable head voice muscles downward in his/her range below the B-Flat below middle C for all male singers, and B-Flat below C2 for all female signers, to the very last pitch of the chest voice. This will be explained in more detail later on. Altering the throat-socket of the detached falsetto u (oo) vowel, to the throat-socket of the detached falsetto o (oh) vowel, then changing the throat socket of the detached falsetto o (oh)

vowel to one of the two modified forms of the detached falsetto a (ah) vowel, which are the AW and UHD sounds The pure, detached falsetto a (ah) vowel is the last of the three breath enabling vowels to be utilized with the same above exercises and their same pitches (the B-flat, B-natural, C-natural, D-flat and D-natural above middle C), for all male singers. The B2-flat, B2-natural, C2-natural, D2-flat, and finally the D2-natural pitches, for all female singers, which were used for the forgoing exercises. The two other breath enabling vowels are the detached falsetto u (oo) vowel and the detached falsetto o (oh) vowel. Succeeding with the pure a (ah) is the ultimate goal of these exercises. However, the a (ah) vowel is the last to submit to being totally developed to its ideal form. This is so because an ideal (ah) vowel in its most advanced, fully developed, and fully connected to the full power of the chest voice, and it demands of each pitch with which it is sung with the a (ah) vowel, that it be totally capable of sustaining the full power and total weight of the chest register. This can only be accomplished very slowly, over a period of years. Remember that at this primary phase of development, with which most of the exercises of this Entry deals, are only involved with the detached (from the weight and full power of the chest voice) form of the falsetto voice. The ideal connected form of the a (ah) vowel also requires, with any and all pitches that utilize it, that each individual vowel-throat socket of the singers complete range of pitches also be developed to its maximum potential. One of the structural hazards of employing the a (ah) vowel, in any and all of its varying forms, is that is tends to limit the free flow of the breath stream and over burdens any under developed head voice tone. It is for that reason that usage of the a (ah) vowel (except for its detached falsetto form) should be withheld for quite some time. It is also for this reason that the great singing teachers of the past, such as Francesco Lamperti (1811-1892) and the many other voice teachers of his time, discovered and frequently applied the AW sound. The AW sound is a modified form of the pure a (ah) vowel, and is a combination of the u (oo), o (oh) and a (ah) vowel. It allows the singer to restrict a large percentage of the pure, connected a (ah) vowels chest weight and power, until the pitch being presently developed reaches an advanced level. Then, on its own, the AW sound will suggest to the singer, through throat sensations, that the presently exercised pitch has finally grown strong enough to tolerate the full weight and power of a pure, connected, ideal a (ah) vowel. When I was a young singing student, my only voice teacher was Giovanni Cacetti, who was of the Francesco Lamperti School of Voice Training. He most frequently used the AW sounds, instead of the pure, open a (ah) vowel, with all the vocal exercises he assigned to me. Later on, during the earlier years of my voice teaching career, I too used the AW sound as a temporary tool for dealing with the a (ah) vowels potential negative effects, with many of the vocal exercises I assigned to my pupils. However, I quickly learned through experience that most

of my American students had great difficulty is correctly producing the AW sound. And, for a long time, I couldnt understand why. Instead of the AW sound which I requested, many of my American students produced some sort of UHD sound for me. Their frustration level, over not being able to give me the particular AW sound that I wanted, sometimes mounted to such a high level that I completely stopped asking for the AW sound. It wasnt until many years later, and quite accidentally and sort of out of the blue, when I once again asked a pupil to sing an AW sound for me, he produced the old UHD sound, from my earlier teaching years. However, this time, I experienced an epiphany. Eureka! In that moment, it became perfectly clear to me that this particular students UHD sound, which I had rejected in the past, was in fact, the American language version of the Italian AW sound of Lampertis teaching years, and my own earlier years of voice training with Maestro Giovanni Cacetti. Naturally, I was anxious to cautiously begin putting my new UHD sound discovery to the test. So, I gradually begin to assign the UHD sound to some of my new pupils. And to my delightit worked! Each of them could easily produce the UHD sound for me, and it worked very beneficially and similarly to the Italian AW sound, for the difficult pure a (ah) vowel. The UHD sound also allowed many of my students to produce a full flowing breath-force stream. The UHD granted that particular student (and many other students thereafter) the ability to produce a selected pitch for exercise purposes, that was appropriately saturated with the breath flows energy. That pitch could also hold the full negative impact of a pure a (ah) vowel in check. And it could still retain still retain, for the student, the option to adjust the throat-socket of the UHD sound more towards a pure a (ah) vowel in gradual, incremental steps. This was possible because the UHD sound, being a combination of the detached falsetto u (oo), o (oh) and the a (ah) vowel, arranged the throat-socket of the selected pitch in a loose, malleable, highly adjustable manner. The singer could, while adjusting the throat-socket of the presently sung pitch from the UHD sound towards a pure (ah) vowel, immediately back away from it if the singer felt the pitch was being threatened. It was then possible to readjust the throat-socket back toward the safety of the u (oo) and o (oh) vowels loose and malleable influence. This avoided any and all rigidity and weightiness that the pure a (ah) vowel had threatened to impose upon the presently selected pitch.

Singing is a physical act.

Francesco Lamperti said: We do not perform any physical act through relaxation, but with correct tension and action.

And his son, Giovanni Battista Lamperti, said: The motives and movements of your mind and body (the musicianship, the coaching, the style, the communication, the spirit and the physiological movements involved) make up only half of the proposition of singing. Natural phenomena of vibration, breath energy, and resonance contribute the other half, and we are paying less attention to this half than did the great teaching lines of the past.

Returning to the earlier exercises that requires the singer to establish a B-Flat pitch with detached falsetto u (oo) vowel (following the same guidelines as the previous exercises) then slowly change the u (oo) vowel throat-socket; then to the vocal-throat socket of the detached falsetto o (oh) vowel; then change the o (oh) vowels throat-socket to the UHD sounds throat-socket, which is one of the two modifications of the a (ah) vowel, the other one being the AW sound. We have selected the UHD sound over the AW sound for the forthcoming exercises. The UHD sound is the best of the two because it enables most Americans to achieve the greatest amount of breath flow energy with any selected pitch. We will again be using the same pitches as the previous version of this exercise. Those pitches are the B-Flat and B-Natural located below Middle C, the middle C itself, and D-Flat and DNatural above middle C for all male singers. And for all female singers, the B2-Flat, B2-Natural located below C2-Natural, and the D2-Flat and D2-Natural pitches situated above C2-natural. With the forthcoming exercises that employ the detached falsetto u (oo), o (oh) and the UDH sounds, we start the exercise with the D-Flat above middle C for all male singers, and the D2Flat above C2-Natural for all female singers. Inhale an exaggerated amount of air, then quickly establish the detached falsetto, hollow u (oo) vowel with the D-Flat pitch, relative to your voice category, male or female. Place a W in front of the u (oo)woowhich will prevent you from unintentionally evoking the negative, rigid actions of the lower jaw and stiffness of your tongue. Those responses would immediately render your voice rigid, and defeat the intended exercise. Lets assume that you have correctly established the correct u (oo) vowel, and that the selected pitch is being prolonged by the breath flow exclusively. If that be so, you may start to release the u (oo) vowels throat-socket (this will take place at the posterior upper area of the mouth cavity) and muscular influence, and start changing the u (oo) vowels throat-socket into the vowelsocket of the UHD sound. Remember that this UHD sound is made up of a combination of the u (oo), o (oh) and a (ah) vowels, and that with it, you must create a loose, malleable, highly adjustable throat socket. As you depart from the throat-socket of the u (oo) vowel and are about to establish the new UHD sounds throat-socket, keep the selected pitch tuned more toward the u (oo) and o (oh) vowels, rather than toward the a (ah) vowel.

Remember that at this early phase of performing this exercise, as with the two previous exercises, you must not attempt to increase the level of the breath intensity that is prolonging the tone. Your goal is merely to keep the breath streams flow even and constant, and to establish and then maintain the throat-socket of the UHD sound as correctly as is possible. When you run out of breath, stop the exercise, rest your voice for a while, then perform the exercise again. But with this new attempt, try to understand the differences which you have experienced between the first u (oo) vowels throat-socket position, and throat-socket position of the presently sung UHD sound. Stop the exercise and think about it. Then do some experimenting with the same pitch and exercise, passing from the detached falsetto hollow u (oo) vowel, then to the o (oh) vowel and finally to the UHD sound. Eventually, this exercise must pass beyond the UHD sound, and on to the pure a (ah) vowel sound. But for the moment, try to make a distinction regarding the effect that each of these three different vowel sounds has had upon the upper posterior area of your mouth cavity. And think about the various ways in which these changes of vowels and their throat-sockets have effected the behavior your lips, tongue, soft palate, and the flow of the breath force. Hopefully, you have properly changed the initial detached falsetto hollow u (oo) vowel into the vocal-socket of o (oh) vowel; and then into the vowel-socket of the UDH sound. If this has occurred while maintaining a smooth, constant flow of the breath force, and a malleable and highly adjustable posterior upper area of your mouth cavity, you will have understood that all these important factors were operating properly. And, you would have most definitely felt many subtle, different, distinct movements of your soft palate at the upper posterior area of your mouth cavity, and of your tongue behavior within your mouth cavity. All these movements are appropriate. They are also highly necessary for singing in a superior and correct manner with all 10 half-tones of the wide passaggio. However, they can only occur when they are being enabled by the singer. They are set into motion by the singer applying the appropriate principles of vowel-socket changes while simultaneously operating loosely under the constant influence of the breath flow. Please consider whether your singing voice has been recently subjected to many ascending scale exercises, using the damaging raw chest voice a (ah) vowel and the principle of forced resonance that is presently popular in so many vocal studios. If so, your singing voice may not respond to most of the exercises that have been presented to you in this entry, in the ways you expected it to. If that be the case, dwell for a longer period of time on the detached falsetto u (oo) and o (oh) vowels exercises.

Do not try to perform all phases of these exercises in a brief period of time. That would be unrealistic, a waste of time, and counterproductive. Take your time with each individual exercise and its effects. Perform the exercises slowly and accurately, then give your voice a long rest. While resting your voice, reflect upon the positive goals and achievements which these exercises can possibly grant to you. Be aware that you can neither understand nor judge the results which these exercises are having upon your singing voice while they are being performed. In the next Entry, #8, we will be dealing with the i (ee) and e (eh) vowels.

I wish you the best of everything, in the coming new year. Be calm Be patient Be focused Be wise

Entry 8: Exercising your singing voice with the detached falsetto I (ee) and e (eh) vowels Understand that the detached falsetto u (oo), o (oh) and a (ah) vowels are highly antagonistic toward the detached falsetto i (ee) and e (eh) vowels. This creates a situation in which most singers find it extremely difficult, while exercising their voices or actually singing, to employ all five of the classic Italian vowels equally in all sections of their complete ranges. All five vowels are important for aesthetic purposes, but they are critically important for accomplishing all the structural requirements necessary in transforming an undeveloped voice into a superior, professional singing voice.

Group #1: The u (oo), o (oh), and a (ah) vowel

Group #2: The i (ee) and the e (eh) vowel

This inherent antagonism permanently operates between these two separate groups of vowels throughout the complete ranges of all singers of all vocal categories. However, this negative energy can be transformed into positive energy. This positive energy allows a master teacher to create for his/her students a vital, dynamic, beautiful, superior singing voice which grants the singer complete control of his/her complete range, and complete use of all five classic Italian vowelsu (oo), i (ee), e (eh) o (oh) and a (ah)equally, and in all sections of the complete range,

One major difference between these two separate groups of vowels is that the u (oo), o (oh), and a (ah) vowels are breath-flowing enabling vowels. Whereas the i (ee) and e (eh) vowels are breath-flow disabling vowels. There are other major differences between these two separate groups of vowels and we will gradually present them to the reader. Perhaps the best way to understand the structural contributions and behaviors of the detached falsetto i (ee) and e (eh) vowels is to explain the ways in which they should be used, in order to transform a beginners undeveloped voice into a totally new and superior professional one.

Nature is capable of deceiving even the most intelligent, totally dedicated, pure of heart and soul dreamerand she frequently does!

It is not possible to create a great singing voice by naively accepting all the singing voices physiological components in the same anatomical state as they are originally found. Nor is it possible to quickly understand the physical responses which the singing voices muscles make to the vocal exercises which the singer applies to them in his/her efforts to develop a superior voice. To accomplish that, great empirical experience with the art of vocal structuring is needed. That art must make available to the student a precise, highly effective, tried and proven program of vocal exercises. Apparently, what is presently being offered by way of structural principles and practices seems to produce inferior results which bring about the direct opposite of what is actually needed to create a superior voice. This is not always the total fault of voice teachers, because, uncanny as it may seem, nature has disadvantageously assigned the five singing vowels (the u (oo), the i (ee), the e (eh), the o (oh), and a (ah) vowels) reign over various sections of all singers complete range. These five critically important vowels are the indispensable structural tools that allow a superior teacher to develop, place, and transform each individual pitch of the complete range. Then each individual pitch will function harmoniously with its neighboring pitches, and also with all the remaining pitches of the complete range. The complete range is generally divided into three separate sections: the bottom range, the middle range and the top range. But nature has disadvantageously assigned the five singing vowels to these three sections. This little known factor is one of the major causes of the high rate of failure with most present-day voice-training methods. But, on a positive note, the five singing vowels can be reassigned to reign over new sections of the complete range by applying specific exercises which employ the detached falsetto versions of the i (ee) and e (eh) vowels. After the i (ee) and e (eh) vowels have been properly reassigned to their new, appropriate locations along the length of the complete range, then the u (oo), o (oh), and a (ah) vowels can also be reassigned to new sections of the complete range. Figure # 1 (below) shows natures disadvantageous arrangements of the five classic singing vowels, as they are originally found, before they have been reassigned.

Nature, in doing this by accident, purpose or design, has placed all singers in an extremely disadvantaged position, from the very start of their vocal training. She has set down, for the entire international community of voice students, a mystifying and daunting challenge, for all aspiring students wanting to enjoy a professional singing career. Considering this, I hope that the forthcoming information concerning these seldom known facts about the detached falsetto i (ee) and e (eh) vowels will help to reverse and undo natures unfair, disadvantageous arrangements of the five classic vowels, along the length of all singers complete singing ranges. It may inspire confidence in some of my readers to know that I, for more than thirty years, have worked with, carefully examined, and ruthlessly judged all the information I have presented in this Blog. This information concerns the nature, behavior, uses, and positive benefits which the detached falsetto i (ee) and e (eh) vowels can potentially have upon the u (oo), o (oh) and a (ah) vowels.

Figure # 1 (above)Shows the three sections of the complete range, and their ruling vowels before Head Voice structuring.

Figure #2 (above), shows the result of totally reversing natures assignments of the five classic singing vowels of the bottom range, middle range, and top range to a totally new and different order. It must be understood that this process of reversing the rulership of the five classic singing vowels is an extremely difficult, time consuming, and daunting task.

All singers should be aware that when the raw a (ah) vowel remains the ruler of the bottom range, as it is originally found in natures disadvantageous arrangement, it exerts a strong, negative influence upon all singers bottom ranges. The raw a (ah) vowel blocks the resonance channel in a manner which prohibits the motor force of the breath flow and the vibrations of vocal cords to travel together along the full length of the resonance channel. The breath flow and the vibrations of the vocal cords cannot then ascend the range and enter into the appropriate resonance cavities of the head. Employing the raw a (ah) vowel of the chest range causes the pillars of the fauces to draw backward towards the posterior wall of the throat. Once that happens, these pillars stretch themselves horizontally over the pharynx, which immediately limits and restricts all tonal sound to the chest range. Most female singers instinctively avoid the lower chest region of their complete ranges, to escape this blockage. This blockages urges most female singer to starting the building of their singing voice away from the bottom of their range, and instead, to begin the process from the middle range, and s working upward. Most male singers, whose complete ranges possess more chest tones than head tones, are unaware of the benefits to their middle and top ranges, t hat can be derived from the Head Voice. They erroneously force their bottom range upward to the E-Natural above middle C, where the puzzling and highly restrictive Registers Break is located, between E-Natural and FNatural above middle C. Female singers possess more head tones than chest tones in their compete ranges. And, those fewer chest tones are in the troubling Registers Break area, located at the bottom of their ranges. These factors allow female singers to seemingly get off to a better and swifter start than most male singers in the development of their singing voices. However, most female singers are unaware that all singing voices can only function successfully when they operate on a synergistic principle. This synergistic principle dictates that only two energy, motor forces, the chest register and head register, working together can create a superior singing instrument. Neither register, operating alone and separately from the other register, can accomplish the task. Unfailingly, when female singers neglect this principle of synergistic structuring, and shun their lower chest tones help, and avoid properly structuring their lower Registers Break, their voices eventually shut down and remain permanently dysfunctional.

A simple, clear overview of some important factors which all singers need to know about their singing voices, in order to make them functional.

Frequently, when confronting a complex, long term, elusive problem, it can be helpful to turn away from the mind and its incredible thought processes for a while, and instead, use the visual wonders of the eyes!

Figure # 1For all Male Voices

Figure #2For all Female Voices

Observe that in Figures # 1 and # 2 (above) the solid black figures on the left are thicker than the white, hollow figures to the right. These differences are of major importance. They are the reason why it is so difficult for all singers to accomplish a complete range of properly functioning singing tones. A complete, correctly structured vocal range includes all the pitches of the bottom, the middle, and the top ranges. All three of these vocal ranges must function in complete muscular harmony with each other. However, the problems of the unresolved Registers Break are the main reason why most singers voices do not possess a complete, correctly structured vocal range. The differences between the dark figures thickness and the white figures thinness are physiological, unalterable factors. Practically the entire international community of frustrated singers and voice teachers have come to consider the area of the Registers Break, in all singers complete range, to be totally unalterable. This means that when the singer, with an unresolved Registers Break, ascends his/her complete range from its bottom and arrives at the registers break area (located between E-Natural and F-Natural above middle C), he/she will unfailingly encounter an impasse. This impasse prohibits him/her, upon entering into the are of the Registers Break, which is the impasse, from producing accurate musical pitches that are in

muscular harmony with the remaining pitches of his/her complete range. It also prevents passing through the Registers Break and then ascending further upward in the range, to its top. When progressing upward from the bottom of the range, all singers are obliged to use some form of the chest voices participation in order to ascend their range. The correct form of the chest ranges appropriate participation is known as a mixed register (this term with be explained later). All singers who use the muscular controls of the raw and unmixed chest voice muscles, with the intention of ascending to their Top Range, arrive at the impasse of the Registers Break. There, they can no longer use the muscles of the chest voice, with out the muscular help of the mixed voice, to enter into the Registers Break area and then to ascend past it, and continue further upward, to their Top Range. In order for any and all singers to enter into the Registers Break area, pass through it, and ascend further upward to their Top Range, they are obliged to switch their method of tone production completely from the muscles of the head voice, over to the muscles of the head voice, Moving completely away from the inherent till and thick chest voices muscles, they must transfer their method of tone production over to the thinner and highly flexible muscular controls of the head register. By creating the mixed voice with all the pitches of the Registers Break enables this transfer from the chest voice muscular controls over to the head voices muscular controls. However, they will not be physically capable of switching from the Chest Ranges muscular controls over to the Head Registers muscular controls unless the incompatible thickness factor of the chest voices range and the thinness factor of the head voices range can be properly eliminated by various applications of the five Singing Vowels. These different, antagonistic factors of thickness and/or thinness, between the Chest Voice ranges muscular controls and the muscular controls of the Head Voice Range, must somehow be properly ad permanently dealt with, if the singer to eventually become capably and facilely switch from the chest voices muscular controls over to the muscular controls of the head voice, repeatedly and consistently. And, while doing so, to produce beautiful, highly controllable tones with clear and understandable pronunciation of all five Singing Vowels. Altering the physiological and restrictive differences between the chest voices thickness and the head voices thinness in the area of the Registers Break would be daunting under any and all circumstances. But where the singing voices organs are concerned, it seems to be an impossible task. This is so because most parts of the human anatomy are rather difficult, if not impossible, to alter. It is particularly problematic when the person (or persons) who wish to alter certain body parts cant even clearly locate and identify the parts which they wish to alter. It is rather easy to locate and identify the anatomical parts of the singing voice that are controlled by the Chest Ranges muscles. However, by stalk contrast, the thinner muscular controls of the head voice are extremely difficult to identify, locate, control, and utilize in tone production. This is so because the head voice, in its original, undeveloped, detached state of existence (when it is operating without any connection to the power factor of the chest register), is extremely thin and narrow. And the sounds which it produces (before advanced development),

lack vocal cords vibrations, and therefore, it possess no means of summoning up and launching projecting power. And, form the singers point of view, there is a discouraging and deceptive element involved. It is that, view, while producing undeveloped head tones, the singer negatively perceives them as being false, unnatural, without substance, and therefore, highly unusable, where superior, professional singing is concerned. Many vocal students and voice teachers sometimes glibly discuss the various so called beneficial uses and benefits of the Head Voice. They often pontificate their own theories, as if they were experts on the subject and totally familiar with every structural aspect and benefit of the Head Voice. But in reality, most of these individuals cannot actually identify, locate, or utilize any of the benefits of the true, usable head voice. A few self-deceiving, misguided individuals can easily find and evoke many false and unusable versions of the head voices muscular controls. But these false and unusable versions of the head voice do not permit them to alter and restructure the pitches of the troublesome Registers Break. They are unable to effect and beneficial physiologically changes to any singing voice which will then allow the singer to correctly sing all the pitches of the his/her Registers Break, to pass through it, then ascend further upward to the top of their range. Nor, conversely, can they pass downward through the Registers Break, to the very bottom of the complete range. Certainly, they are unable to accomplish the foregoing maneuvers, while simultaneously producing and controlling tones of high quality, which are muscularly harmonious with all of the other tones of the complete range. And with all of this so called structural knowledge, they are incapable of pronouncing all five of the classical singing vowels clearly and distinctly. Understand that there are vast differences between the sounds and muscular behavior of the actual and usable Head Voice, and the false and sunusable Head Voice, and they will be clearly explained later.

Locating, evoking, identifying, and utilizing the muscular controls of the true, usable head voice, with the help of the detached falsetto i (ee) and e (eh) vowels

The detached falsetto i (ee) and e (eh) vowels consistently tend to operate in an upwardmoving-and-pulling direction along the ascending path of the resonance tract. They strongly veer away from the perpetually downward pulling tendencies of the a (ah) vowel of the chest voice, which pulls towards the very bottom of the complete range. These important, seldom known behavioral patterns, play major roles in successfully structuring a superior vocal instrument. The detached falsetto versions of the i (ee) and e (eh) vowels form special, beneficial relationships with the remaining three vowelsu (oo) o (oh) and a (ah). Where the discovery of the true, usable head voice is concerned, the i (ee) vowel has a special relationship with the e (eh) vowel.

Where the discovery of the mixed voice is concerned, the i (ee) vowel has a special relationship with the u (oo) vowel. This will be explained in detail later. In the meantime Scroll backwards to the two abstract illustrations of the two Vocal Registers. Look closely to the left at the thick black figures. Then look to the right, at the thinner white figures. Notice that the inside ends of the black and white figures which face the Registers Break are of different sizes. The black figures have larger edges, while the edges of the white figures are smaller by comparison. These differences are permanent, unalterable physiological factor. If we were to join the black figures to the white figures with the intention of transforming them into a single, joined passageway through which we wish to transport a bulky object, there would be an unlikely result. Lets take a look. We enter into the black figures entrance of our improvised tunnel at the left, with our bulky object, which is just a bit smaller in size than the dimensions of the white section of the tunnel. Our intention is to transport our bulky object completely through this improvised tunnel. We arrive at the entrance to the white section, which is considerably smaller in its dimensions than the black figure, and also smaller than the size of our bulky object. Because of this size discrepancy, we will not be unable to enter into the white figures section of the tunnel, much less continue to traverse its complete length and exit it at its other end. Obviously, this is due to the fact that the white section of the tunnels dimensions are smaller and narrower than the larger dimensions of our bulky object. The differences in dimensions between the black and white sections of our improvised tunnel have prohibited us from successfully transporting our bulky object completely through our improvised tunnel. You ask yourselfwhat does a;; this have to do with the sining voice? The above situation is similar to the prohibitive differences between The Chest and Head Voices Ranges, which all singers encounter as they ascend their ranges and arrive at the impasse point of the Registers Break. It is the dimensional differences between the Chest and Head Voice Ranges, at the Registers Break which prohibits all singers from properly entering into the Registers Break Area. Unable to enter the smaller dimensions of the Head Voices passageway, singers are prevented from even entering into the head voice range, much less being able to ascend further upward in it, in order to reach their top Ranges. Singers have often resorted to covering the troublesome tones of the Registers Break, producing one or more of the passaggios pitches with nasal resonance, dropping off some of the Chest Ranges full power, situated below the Registers Break, in order to solve the problem. No such futile attempts such as these, will permit the singer to circumvent the blockage point of the Registers Break. Logically then, the solution to the above problem is to make either the head voices top section thicker and wider, or make the chest voices lower section less bulky and narrower.

The Wrong Approach

Regrettably, the radically wrong approach, attempting to make the upper middle and top range thicker and wider, has been applied countless times. Over and over, to practically every American vocal students voice for nearly seventy-five years now. It has always had the same disastrous results.

The Correct Approach

Obviously, the correct, appropriate and logical approach is making the chest voices lower sections thinner. This is accomplished through transforming the muscular influences of the Head Voices muscular controls. (This process will be explained in detail later). However, the intricate, time consuming principles and practices necessary to accomplish that task have been abandoned and forgotten for the last seventy-five years or more. But they have not been totally lost! Heres what can be done to restore them!

The detached falsetto, head voice versions of the i (ee) and e (eh) vowels interrelationship with each other, with regard to locating the head voice

Locating the Head Voice muscles

The pitches that are controlled by the muscles of the Head Voice can be found from F-Natural above middle C and upward to the highest pitch of the singers Top Range for all male singers. And for all female singers, from F2-natural above C2 and upward to the Top Range. By rule of nature, all the pitches of the Head Voice are inherently thin and highly malleable. The Head Voices inherent thinness factor is in direct contrast to the inherent thickness factor of the Chest Voice. All of the Chest Voices pitches are inherently thick, bulky and rigid. They are controlled by muscles which function a manner which is in direct opposition to the highly flexible, malleable muscles that rule over the all the pitches of the Head Voice.

Beside these inherent differences, there also exists a permanent antagonism operating between the Head and Chest Voices muscularly controls. Stated simply, when the singer attempts to make the muscles of all the pitches of both the head and chest voices function together in a muscularly harmonious manner, the antagonism which exists between the Chest and Head Registers persistently denies the singer that accomplishment. The singer must locate, evoke, completely understand, and properly apply the muscles of the head voice, and those of the mixed voice (which will be fully discussed in our next Blog Entry #9). Only by doing so and by applying special exercises unknown to most present-day voice teachers, can singers of all vocal categories, males and females, ever accomplish the structuring of a complete range. By that we mean, muscularly harmonious tones which include all the pitches of the bottom range, the middle range, and the top range. Before presenting the methods employed for discovering and evoking the muscular controls of the head voice, the singer must perform some preparatory exercises using the detached falsetto form of the i (ee) vowel. During the many years that I have taught singing in Manhattan, only a few new students auditioning for me had not had the pitches of their lower range erroneously forced upward into to their middle range. If that be the case with your voice, the following preparatory exercises will be helpful. If performed correctly they should gradually and completely reverse that negative factor and prepare the pitches of the Registers Break for their forthcoming complete transformation. Now for the exercises that instruct all singers, of all vocal categories, how to locate their true, usable head voice muscles.

Figure # 1. For all Female Singers and Tenors

Figure #2 For all Baritones & Basses

Select from illustration # 1, or # 2, whichever is appropriate for your own vocal category.

All singers should start with the G-Natural, which is the top note of the pattern, while adhering to the follow sequence of maneuvers.

Slowly inhale a deep, exaggerated breath through your open mouthnever through the nose! Breathing through the nose erroneously directs the muscles responsible for accomplishing the exercise forward, toward the lips, which is radically wrong. Breathing through the mouth enables the singer to direct the detached falsetto i (ee) and the breath force that evokes and produces it backward, inside the mouth cavity, then upward and behind the soft and hard palates. This detached falsetto i (ee) vowel (detached from all projecting power of the chest voice) must be evoked and sustained exclusively with the force of the breath stream. While accomplishing this, the singer must loosely establish a silent, unsung, open-throated a (ah) vowel socket, then direct the detached falsetto i (ee) vowel toward the center of this unsung a (ah) vowel-sockets throat position. Once the i (ee) has been properly placed there, the singer must smoothly and evenly prolong the energized, now highly kinetic i (ee) vowels sound for as long as is possible, without attempting to intensify its volume in the slightest. If in he past the singers voice has been forced in the area of the Registers Break, he /she may have to establish an u (oo) vowels throat-socket for the presently exercised pitch, and then direct the detached falsetto i (ee) vowel toward the center of the u (oo) vowels throat-socket. The steady sustaining and slow prolongation of the G-natural pitch while employing the detached falsetto i (ee) vowel, in the exact center of a silent a (ah) vowels throat-socket position, or in some cases into the u (oo) vowels throat-socket center, defines the essence of this exercise as it must operate to bestow its benefits. The pressure of the breath, when flowing towards and sustaining this particular detached falsetto i (ee) vowel, gradually strengthens this individual pitchs throat-socket. When repeating this same exercise with the same pitch, the breath stream will eventually communicate to the singer that he/she may slightly increase the amount of breath pressure to the selected pitch and its i (ee) vowel throat-socket. By repeatedly maintaining this form, the pitch is gradually strengthened. If in the singers past, his/her voice has been repeatedly and erroneously subjected to many ascending scales which employ the raw a (ah) vowel (a situation where there has been no help from the mixed voice), it will be difficult for the singer, to perform the above exercise. He/she

may not immediately succeed in evoking the proper detached falsetto i (ee) vowel demanded by the exercise, much less be capable of prolonging it and its pitch for the prescribed length of time. When that be the case, stop the exercise, rest the voice for half an hour, and try it again. Eventually you will succeed. It may help you to understand that this particular detached falsetto i (ee) vowel can only be evoked and properly sustained when it is placed upon a strong, narrow, concentrated stream of the breath force. After you have succeeded in evoking the correct i (ee) vowel with the first selected pitch, you may proceed to descend the pattern (refer back to the illustrations given above). Do so pitch by pitch, taking in a new, deep and exaggerated breath for each new pitch. Continue until you have performed the exercise with all the pitches of the pattern. As you arrive midway in the pattern and have entered into the area of the Registers Break (situated between E-natural and F-natural above middle C for all male singers, and E2-natural above C2-natural for all female singers), you must greatly narrow the i (ee) vowels throat position. This is imperative in order to avoid cracking and breaking away from the required muscular controls of the head voice register, and falling downward in the range, into the undesirable muscular controls of the Chest Range. We will later on address employment of the positive contributions of chest voice for voices of all categories. Always keep in mind that it is impossible to clearly understand and properly judge the results of these exercises during the same time period in which they are being performed. This is true of all vocal exercises. You must be patient and allow a substantial period of rest after these exercises, perhaps a day or more. Upon returning to your singing voice, dont exercise it any further. Instead, sing a simple Italian song from the well known group of the 17th and 18th Century songs. It may take a long time, perhaps several months, a year, or even more, to successfully undo the damages of the past and finally succeed with these exercises. When exercising either the detached falsetto i (ee) vowel, or the detached e (eh) vowel, remember that both the i (ee) and e (eh) vowels are antagonistic toward the detached u (oo), o (oh), and a (ah) vowels. Therefore, after performing the forgoing, detached i (ee) vowel exercises, put them all aside and rest your voice for a few days. When you return to your next exercise session, use only the u (oo), o (oh) and a (ah) vowels to warm up your voice. Then sing several of the Classical Italian Songs of the 17th & 18th Centuries.

Procedures for discovering, evoking, and understanding the muscular controls of the Head Voice

For your convenience, we have brought forward, from an earlier section of this essay, two illustrations.

Figure #1, for all Male Singers

Figure #2, f or all Female Singers

Take note that in the above illustrations the right end of the black figure, facing the Registers Break, and the left end of the white figure, also facing the Registers Break, are vastly different from each other in size and thickness. It should be obvious that you could not fit the right, thick end of the black figure into smaller, left end of the white figure. This is the reason why so many singers, while actually singing, have such difficulty in passing through the Registers Break Area. This is the negative situation in which most student voices are originally found. There the five singing vowels which reign over the muscular controls of Bottom, Middle, and Top Ranges are

left to remain in the disadvantaged positions which nature originally assigned to them, as shown in the illustration below.

However, after the five singing vowels have been reassigned (as they are shown in the illustration below), the new arrangements turn on a new, bright light. They give a new understanding of all singers complete ranges, and in particular, the Registers Break area. Its mysteries, its seemingly unsolvable problems, and their solutions are now revealed.

This new understanding of the Registers Break with regard to the new, reassigned positions of rulership of the i (ee) and e (eh) vowels now places them mathematically and precisely straddling the divisional point of the Registers Break. We find the i (ee) vowels position at Enatural above middle C, situated just below the Registers Breaks divisional point. The e (eh) vowels position is at F-natural above middle C situated just above the Registers Breaks divisional point. (See the three illustrations below)

Figure #1for all Female Singers

Figure #2, for all Tenors

Figure #3, for all Basses and Baritones

The mathematical, precisely calibrated dimensions and positions of the vowel throat-sockets of the detached falsetto i (ee) and e (eh) vowels grant all singers a new structural principle concerning the Registers Break and a new advantage. It is that, when they sing a vocal scale or phrase which starts at the bottom of their complete range and ascend upward to Registers Break they can now precisely experience and clearly understand the difficult method of switching their muscular mode of tone production. They must shift completely away from the muscular controls of the Chest Voice Register, and transfer completely over to the muscular controls of the Head Voice Register. After the above experience, this is very possible. The switching over maneuver can be muscularly helped to succeed, aided by the precise, calibrated differences in length and thickness between the lower i (ee) vowel, evoked for the E-natural pitch situated immediately below the Registers Break, and the e (eh) vowel, evoked for the F-sharp situated above the Registers Break. This can be actually, precisely, and repeatedly experienced through correct performances of the exercises presented below:

Figure #1For all Female Voices and for Tenors

Figure #2For all Baritones and Basses

Preparations for the forthcoming exercises

Lowering the soft-palate downward and then forward into a position which faces the front of the mouth cavity (this is automatically accomplished by employing a correctly produced, detached falsetto i (ee) vowel), the soft palate will be properly positioned, in accordance with the presently sung pitch. Taking the tongue out of its resting place in the lower throat channel, the muscular actions of the detached falsetto i (ee) vowel lift it upward and into the mouth cavity. Once there, and still under the positive influence of the i (ee) vowel, the tongues midsection will automatically rise upward toward the hard palate situated above it. Simultaneously, the tongues rear section, now elevated as a tall mound and facing the back wall of the mouth cavity, will meet with and connect itself to the lowered soft palate. Once that has smoothly and properly occurred, the tall mound of the tongue and the lowered soft palate are now bound to each other. They will automatically close off all the pitches situated below the currently selected pitch. This is the case, whichever pitch is selected in relation to the presently performed exercise, selected from the two illustrations above. The singer must then raise his/her larynx slightly upward and gently press it against the currently selected pitch. This is automatically accomplished by tensing the vocal cords in a manner dictated by the e (eh) vowel when it is being pronounced like the sounds found in the words egg and/or keg. Once this has been properly accomplished, all the pitches below the currently selected pitch become dominated and controlled by the u (oo) vowel. And at the same time, they are all totally shut off from the presently sung pitch. Once the singer has clearly understood and mastered the above maneuvers, he/she has properly prepared a clear passageway along the full length of his/her resonance tract for the breath force (which is mixed with the vibrations of the vocal cords, in accordance with a properly produced, detached falsetto form of the i (ee) vowel). Thus mixed with each other, the breath force and the vibrations of vocal cords i (ee) vowel may then travel upward along the full length of the resonance tract, whizzing toward the head voice cavities rapidly, smoothly, and without impediment. You will know for certain if you have correctly found and properly evoked the elusive Head Voice and will appreciate its critical importance because of the unusual and highly kinetic behavior of the selected pitch. A true, usable head tone, when compared to a false and unusable one, can only be evoked and sustained by strong, rather unwieldy currents of the breath force. These strong and unwieldy currents of breath immediately assert themselves with the selected pitch. presently being produced. They swirl around in the upper area of the throat in many odd ways and directions. That pitch and its vowel will continue to operate in that manner for the entire time that the singer

keeps it alive and active, by supplying it with constant swirling, currents of the breath force. This only describes some first-time, newly discovered pitches of the true and usable head voice. As the head tones advance in their development, those kinetic, swirling, hard to control currents of the breath gradually and radically change their behavior and become highly controllable. The throat-sockets of those head tones gradually grow very strong, shrink in size, and become extremely narrower, (without losing their developed strength). This advanced state of their development was called the witch voice by the great, old, Italian voice teacher of the past la voce stregata, or the witch voice. When the witch voice reached its maximum development the strident and shrill sounds it produced during its earlier phase changed yet again. Then, in that highly developed phase, ethereal sounds were produced which the old, master teachers called the whistle voice. Correctly locating and evoking a true, usable head tone is a rather difficult task. Those desirous of evoking the true, usable head voice frequently fail. Instead, what is rather easily found is the calm, watered-down detached falsetto mechanism. It is not evoked and prolonged with the strong currents of the breath force, which characteristically create and define the initial nature and behavior of true, highly usable head voice pitches. In the exercises above, all the lower, detached falsetto i (ee) vowel pitches have been arranged in precise intervals, relative to all the upper, detached falsetto e (eh) vowels. This has been done to aid singers attempts to perform the tricky switch over maneuver. By rapidly departing from the muscular controls of the Chest Register using the detached falsetto i (ee) vowel (situated below the Registers Break), and moving completely over to the pitches using the detached e (eh) vowel of the Head Voices muscular controls (situated above the Registers Break), he/she will more likely succeed. Again, this is because of the ways in which the detached i (ee) vowels of all the lower pitches of these exercises have been arranged, in relationship to all the upper detached falsetto e (eh) vowels of the upper pitches. These particular arrangements take full advantage of each vowels separate, precisely calibrated mathematically different dimensions. When these exercises are correctly executed, the mathematic different dimensions between the lower i (ee) vowel and the upper e (eh) vowel (with the Registers Break situated between them), makes success with the switch-over maneuver highly probable. When departing from the lower i (ee) vowel pitch, the singer must make a clean break away from it. Then, with a strong thrust of the breath force just before arriving at the top e (eh) vowels upper pitch, the singer must completely invert the position of the tone, as it lands upon the upper e (eh) vowel pitch. This means that he/she must turn his/her old throat-socket upward and away from the lower i (ee) vowel pitch, and completely upside down. If this is not accurately done, there is a possibility that the singer will fail to truly switch over to the muscular controls of the head voice. All true and usable head voice tones can be identified and verified by their highly kinetic nature, and their hard to control currents of breath. Once the singer becomes familiar with many true, usable Head Voice Tones, they graphically instruct the singer, on their own, as to strengthening their muscular controls to an advanced level. They will automatically bring into play all the necessary connections between themselves

and brilliant, solid, contributions of the chest voice. Whenever this occurs, it will facilely and accurately convert the selected tone being exercised into a performance level tone. This subject will be more thoroughly discussed in our next Blog Entry, #9. Once the breath force, which transports the vocal cords vibrations upward in the range, has entered into the head cavities, the tonal qualities of the vocal cords vibrations become immediately enhanced. At the same time, they are immediately and automatically amplified by the shape and size of the head voices resonance cavities and the soft, elastic, supple nature of the mucus membranes that line them. All the above, if properly accomplished, results in beautiful head tones that shimmer and pulsate with radiant, highly kinetics overtones. This tricky and elusive accomplishment of switching from the muscular controls of the chest voice (in the region of the Registers Break), to the muscular controls of the head voice, if properly executed, will occur and re-occur precisely and consistently at the same, exact location of all singers complete ranges. This occurs for very specific physiological reasons. The force of the breath is applied to the E-natural i (ee) vowel pitch situated just below the Registers Break (the upper passaggios break, for all female singers), and the singer then springs away from it, as if he/she is leaping from one side of a narrow, deep crevice to the other side. He/she is riding on strong currents of the breath force, and heading towards the F-sharp pitch of the e (eh) vowel, just above the Registers Break. The mathematically different dimensions of the i (ee) and e (eh) vowels offer the singer no other option than to physically and completely follow an ascending route towards the upper E-vowel, higher F-sharp pitch. Landing upon it, the singer immediately recognizes that the only method of controlling and sustaining the new, higher, upper F-sharp pitch can only be by directing and regulating the energy force of the breath flow. This must be done in ways that fulfill pitch accuracy and smooth, uninterrupted prolongation. Once the head voices muscular controls have been correctly located, the singer can begin to develop all the pitches located within the range of the Head Voice. The head voices range starts at the F-Natural pitch above middle C, for all male singers, and extends to the top of their ranges. It starts from the F2-Natural above C2 for all female singers, and upward to the top of their ranges. When attempting to develop all the pitches of the head voice range, the singer must adhere to different ways of arranging the five singing vowels. This means using some of the five singing vowels, perhapsthe i (ee), e (eh), o (oh), and a (ah) vowelsin this particular order for exercising a certain section of the complete range. And at another time, using theu (oo), o (oh) and a (ah) vowelsin this particular order, for exercising an entirely different section of the complete range. Selecting a particular order of alignment of the five singing vowels, to be applied to either the Bottom, Middle Range, or the Top Range is a matter of knowing precisely what these various alignments can structural accomplish for the developing singing voice. Different choices must be made at different times in the long, sequential developmental procedure. The voice teacher must possess total tried and proven, empirical knowledge about the alignments of the five singing vowels and the purposes they serve with a particular section of the

vocal range. Only then will he/she know precisely how to use these little-known vocal exercises to benefit the singers complete range. A superior voice teacher is capable of making many acutely important decisions about how to structure a certain tone, or a particular section of the singers complete range. This is only possible when that teacher can identify a specific vocal timbre that is produced by a certain pitch, when a particular exercise it applied to it. The specific timbre is sometimes bright, and sometimes dark. It may variously sound clear or cloudy. All the various timbres or colors communicate to the teacher what he/she must precisely do structurally at that particular moment in the long, ongoing, and daunting developmental process.

All the above concepts must be clearly understood. The teacher must know how to utilize them.

A mindset must exist, from the very beginning of the structural process. The super teacher is always highly aware of the precious, anxiously awaited ultimate goal. That is to finally complete the process of harmoniously equalizing each and every pitch of his/her students complete range.

Equalization of the complete singing range

Only after the true and usable Head Voice muscles have been discovered and can be consistently and accurately evoked, may the student move on to the difficult task of equalizing the two vocal registers. Doing so requires that all the pitches of the bottom, middle and top ranges have been restructured away from their initial antagonisms toward each other. It also requires that all ten half-tones of the wide-passaggio have been properly and harmoniously structured in relation to each other, and that the singer can circumvent all the hazards and muscular restrictions caused by the Registers Break. Where equalization of the complete range is concerned, having success is fundamentally a matter of converting the raw, detached, unblended, antagonistic tones of the chest register into mixed-voice tones. The mixed-voices muscular controls alone are capable of creating a harmonious collaboration between the Chest and Head Voice Registers. When fully developed and properly applied, the muscular controls of the Head Voice, in its mixed voice form, can convert all the tones of the complete range away from all antagonisms, and toward complete harmony with all the other tones of the singers complete range. Once every tone of the complete range has been structurally placed into that highly desirable, superior

relationship with all others, each individual tone of the complete range will respond to the singers desire to sing. If such is the case, he/she will sing in a superior manner, with beautiful, superior tones that are highly controllable. Only after that structural state of advanced development has been attained will all the pitches of the complete range, while actually singing, sound to the singers listeners as if they were all controlled by one, single muscular system. Of course, this in not possible until after the singer has come to precisely understand certain concepts. He/she must know where the head voices muscular controls can be located. How to properly evoke a selected head tone. And finally the singer must know how to blend and connect a developed head tone to a raw, detached chest tone with the use of the mixed-voice. This difficult, time consuming process of blending, connecting and equalizing the muscular controls of both the head and chest voice with each single pitch of the complete range involves various structural techniques. One of these important techniques is generally known of as vowel modification. Vowel modification means that the singer willfully adjusts the purity of one or more of the five classic singing vowels away from its ideal purity of pronunciation, and towards the sound of another vowel that he or she chooses and for a specific structural purpose. Understand that the above is a simple explanation of the complex technique of vowel modification. But it will do for the moment. The purpose of altering the pure pronunciation of a selected vowel toward the sound of another selected vowel is not just for the sake of accomplishing superior punctuation of the singing voice. Rather and most importantly, it permits the singer to make muscular adjustments to the presently sung pitch and its vowel throat-socket. Working in this manner allows for a greater amount of breath-force energy to reach the presently sung pitch, in order to precisely intone, polish it and prolong it. Many times, the pathway of the rising breath-forces energy becomes blocked by inappropriate arrangements of the muscles of either the Head or Chest Voice Register (whichever the case may be). If so, the breath force cannot travel freely and uninterruptedly toward the specific pitch being presently exercised. Vocal Modifications can remove this undesirable blockage of the breath-forces journey upward along the length of the resonance tract, and enable the BreathForce to reach its destination pitch. Vowel modifications, applied in the particular ways which we will slowly come to define and understand in our next Bog Entry #9, can only be properly and effectively applied by an individual who is conversant with many different foreign languages, and their particular influences upon all singing voices. But most importantly, the individual applying these vowel modifications must be totally conversant wit,h the Italian language which is internationally recognized to be the best language with which to structure a superior singing voice. This is so because of the many superior, special ways in which the five classic Italian vowels, as used by native Italian singers while actually singing, can adjust, hone, and enhance the human singing voice.

The individual who would become a master voice teacher must possess much empirical experience at precisely judging the ways in which each of the five Italian singing vowels, as well as the vowels of several other languages of the internationally popular operatic repertory (such as French, German, and Russian), exert their own linguistic idiosyncrasies and structural influences upon the singing voice. There is a reason why presently there are fewer and fewer superior singers of all vocal categories. Few can do justice to the great operatic heroes and heroines of the widely popular Italian operas of Verdi and Puccini, and other Italian composers of the versimo or dramatic school of composition such as Mascagni, Giordano, Ponchielli and others. It is due to the plain fact that the Italian language makes the greatest percentage of muscular demands to accomplish vocal perfection. These demands are much greater than those exerted by all other languages, upon the singing instrument. An expert at equalizing all the tones and separate sections of the complete range must also know how to properly place or position a developing pitch into its appropriate location, along the span of complete range. Properly accomplishing that task grants to a selected, developing pitch the benefit of being properly balanced and in complete muscular harmony with all other tones of the complete range. To properly accomplish this, the teacher performing the equalization process must easily, quickly, and correctly recognize all possible gradations and shadings of tonal timbres of both the chest and head voice registers which might possibly manifest themselves, with any and all of the five singing vowels. The teacher must quickly and precisely decide what these various registers gradations and tonal timbre shadings are telling him/her, so that he/she can precisely apply the appropriate vocal procedure to the present, developing tone. Experts at performing the equalization process depend upon, and expertly utilize the mixed voice to quickly accomplish their tasks. The mixed voice, which was briefly discussed earlier in this essay, will be discussed in greater detail in my next Blog Entry #9. The mixed voice allows the teacher to properly and accurately evaluate the precise percentage of muscular influence of either the chest or head range which must be applied to the presently developing pitch. Conversely, it permits the teacher to determine what percentage of either the chest or head registers muscular influence should be momentarily withheld from the presently developing tone.

NB: If there are any voice teachers who have been following my Blog Entries who wish to learn from me about all the above theories, principles and their applications in person, they may contact me at my e-mail address,

www.operarella@gmail.com

Please leave me your name and telephone number and a brief message. When I get a few free minutes from my busy schedule, I will call you and we can make arrangements for us to get together.

Entry # 9The Unification and Equalization of the Complete Range

Few professional singers presently singing on the worlds operatic stages have successfully accomplished the daunting task of Unifying and Equalizing their complete vocal ranges. Surely, in the beginning of their studies, they can sing a full range of tones. But are all those tones muscularly equally developed and harmoniously unified? How long will the remain? And those singers who start their careers with an almost unified and equalized complete range gradually begin to lose the function of a tone or two of their complete range, until their voices totally collapse. It would be interesting if an in depth study were to be made of the vocal training principles and practices that have been imposed upon the worlds many failed vocal students. If asked what was done to their singing voices by way of so-called vocal training, we would hear many of s the following statements: 1) I was told by my various voice teachers that my singing voice operates on the same principles as my speaking voice. And that it employs the same muscles as my speaking voice. 2) I was assigned many a (ah) vowel exercise scales which started at the bottom of my range and ascended upward towards the top of my range. I was assured that by carrying the power of my chest voice upward to the top of my range I would quickly acquire a full, complete range of beautiful tones. By the way, none of the above training principles are correct.

Your unification and equalization tools are The u (oo), i (ee), e (eh) o (oh) and a (ah) vowels

The process of successfully unifying and equalizing your complete range can only be accomplished by knowing the various ways in which the muscular controls of each of the five classic, Italian vowelsu (oo), i (ee), e (eh), o (oh) , and a (ah)can be applied to each individual pitch of your complete range. The five classic singing vowels enable you to appropriately calibrate and place each individual pitch of your complete range into a specific location, relative to all the other pitches of your complete range. You are also obliged to satisfy each of the five Italian vowels muscular influence upon a selected pitch which you wish to further develop. Knowing and accurately implementing these structural rules allows you to unify and equalize all the pitches of your complete range. Success with all these factors will enable you to sing in a superior manner. However, be aware that since the complete range is composed of many individual, separate, highly kinetic muscular sections, while you are actually singing you could easily and wrongly evoke a particular pitch. To avoid this and to successfully evoke each individual pitch of your complete range without disturbing any of its neighboring pitches, you must skillfully employ the energy of the breath force almost exclusively. This means that superior singing cannot be accomplished unless the singer thoroughly knows about the muscular influences which each of the five classical Italian vowelsu (oo), i (ee), e (eh), o (oh) and a (ah)exerts upon a selected pitch. He/she must also know the ways in which each of the five vowels influences the breath flow, and fully understand if a particular vowel tends to impede or enhance the flow of breath. Unless one has mastered all breathing techniques, superior singing will not be possible.

The five classic Italian vowelsu (oo), i (ee), e (eh), o (oh), and a (ah)are your structuring tools for unifying and equalizing your complete vocal range

When we speak of the five classic Italian vowels, we do not mean that you may apply them when they are wrongly pronounced, in the manner of most American, English-speaking students. Their English-American pronunciations of the five vowels are counter-productive. This is so because their five classic Italian vowels authentic Italian pronunciation has been filtered through their native English pronunciation. Therefore, their pronunciation of the five classic Italian vowels has been compromised. From the beginning of training, with the very first set of inappropriate, ascending scale exercises utilizing the raw and unblended a (ah) vowel, most voice students naively believe that they have accurately begun to establish a permanent, unified and equalized complete vocal range. As delusional as this opinion is, it doesnt take long for its fallacy to manifest itself and leave the student with a disjointed, unequalized, unpleasant-sounding, dysfunctional voice. Often it is a voice which can barely produce a few unmusical sounds, much less a complete range of beautiful, highly functional, totally unified and equalized professional sounding pitches.

Total unification and equalization of the complete singing range can only be accomplished towards the end of a long training program. It requires many years of exercising each individual pitch of the complete range, attempting to make all their muscular functions harmonious with each other while singing a simple song. Many disappointing false arrivals at possessing a state of total unification and equalization of ones complete range generally occur. For determined students, these temporary failures are not a deterrent. They immediately begin their next attempt at equalizing and unifying their complete vocal ranges. And with each new attempt, a certain stoic mind-set is formed and a clearer vision of what is truly needed is adopted. On the other hand, the nave, easily discouraged student works on his/her bottom range for a brief period of time, then quickly concludes that he/she has completely and correctly structured it. He/she then believes that they are ready to accomplish the same with the Middle and Top Ranges. But after a while, they discover that their Middle Ranges pitches are still not muscularly harmonious with the Bottom and Top Ranges. Next, the confused, frustrated beginner starts to exercise his/her uncooperative singing voice with one a particular vowel, excluding the other four vowels. But that doesnt work either. Eventually, the beginner understands that their singing voice is worse off than ever and ask him/herself some discouraging questions: A) Whats wrong? B) Is superior singing really this complicated? C) Do I truly possess any singing talent? D) Should I give up the dream of becoming a great opera singer? Understandably, such a state of mind is bleak and discouraging. However, in order to overcome this discouragement, the singer must come to clearly understand these facts: The process of equalizing and unifying the complete range of a superior singing voice is a very difficult task. It is much more difficult than one would imagine. Even a special, highly promising student who has displayed an early talent for singing can fail to get past the countless technical hurdles of equalizing and unifying his/her complete vocal range. There are two primary requirements for accomplishing unification, and equalization: 1. You must accept the fact that you have been applying wrong training principles and practices to your singing voice. Therefore, it is imperative for you to make a complete and uncompromising change of your vocal technique. 2. You must search relentlessly to find a serious teacher whose vocal training principles and practices are based upon the Old Italian School of Head Voice Training. This may take longer than you think. But if youre determined to succeed, somehow, that special teacher will enter into your life and your dream. However, even before finding this superior voice teacher,

you must abandon most, if not all, of your previous technical concepts of what your singing voice truly is and how it should operate. From that important point forward, you must think skeptically about all new principles and practices to which your singing voice is being subjected. Dont be afraid to ask your new teacher an endless stream of carefully thought-out questions. Then slowly and thoroughly consider his/her answers. If the new master does not readily accept a lot of questioning, that may give you reason for doubt.

Sound, reliable judgments about the unification and equalization of the complete range can only beaccomplished while the singer is actually singing.

When the singing instrument is at rest, it is not possible for the student to accurately judge if all the pitches of his/her complete range are in a state of complete unification and equalization, and operating harmoniously with each other. This is so because there are many movable and adjustable parts of the singing voice which control bodily functions other than the singing voice. While these movable parts are not in their appropriate positions necessary for singing, they are performing their regular bodily function duties. When the singer warms up his/her vocal range, these many movable parts (which the old master voice teachers of the past called the vocal organs) depart from their regular bodily functions and rearrange themselves in the various different positions, necessary for singing. However, before producing the first note of a musical selection or vocal exercise, no singer can be totally sure if their complete range of pitches are going to respond to their commands in a completely equalized and unified manner. Here is what Manual Garcia, pre had to say about this: The path of sound, being formed of elastic and movable parts, varies its dimensions and forms in endless ways, and every modificationeven the slightesthas a corresponding and definite influence on the voice. Even when singers believe that their complete vocal range has been structured to an advanced level of complete unification and equalization, before they start of a performance, they can never precisely predict the state of harmony and unification, or lack thereof, in which their complete range will be found. This totally unavoidable reality could threaten and dissuade even the most courageous, technically skillful singer from going out on the stage, moments before he/she is about to sing a concert, or a highly challenging operatic role. However, for a rare few superstar singers, there exists a precious technical factor about their singing technique which they can count upon. It helps them manage whatever unexpected behavior which all the highly

movable parts of their complete range may present to them during the evenings performance, and to triumph over them. Regrettably, very few of todays professional singers seem to be aware of this precious technical factor! It is known as the mixed-voice.

The precious Mixed Voice, and its many gifts to the singer

But what, precisely, is this precious mixed voice? During the long stretch of time required to construct a superior singing voice, most competent voice teachers frequently stress the need for the pupil to sing pure vowels. And, that rule remains rigidly valid during the long time it takes to build a superior singing instrument. However, as the students voice arrives at more advanced levels of development, the precious purity of their five singing vowels can then be used to their advantage, in new and little known ways. Critically important development can be granted to the singer through a structural process which is called mixing the vowels. Mixing the vowels, or joining and binding the muscular controls of two vowels and their individual sound timbres together is one of the ways by which all the pitches of the singers complete range can be made to behave permanently harmoniously towards each other. When this precise and time-consuming process is successfully accomplished, its greatest values and contributions enable the singer to actually sing (as opposed to merely vocalize) in a superior manner, with superior tone. This is opposed to merely being capable of producing good vocal exercise sounds which, even if they are impressive and promising do not allow the singer to sing in a superior, professional manner. Throughout the past Blog Entries we have frequently mentioned the inherent muscular antagonism and conflicts between the chest and head registers, which deny actual superior singing. We have also considered similar antagonisms which exist between two separate groups of singing vowels: Vowel Group #1 consists of the u (oo), o (oh) and a (ah) vowels. I call them the breath-flow encouraging vowels. And Vowel Group #2 consists of the i (ee) and e (eh) vowels. I call them the breath-flow discouraging vowels. Now lets discuss the technique or method of mixing the muscular controls and sound timbres of the five classic Italian singing vowels. Or, said differently, lets learn how to connect the muscular controls and sound timbres of one particular vowel to another different vowel, in order to achieve a specific singing purpose.

Alright! So you can perform some impressive vocal exercise scalesbut can you actually sing a classic song, or operatic aria in a superior manner, with beauty of tone, clearly understandable vowels, and with full control of your complete range?

Superior Singing Talent: Is it an exclusive, totally natural attribute? Is it granted to but a privileged, select few? can it be actually acquired? Or,

Superior singing talent is an acquired mental state of high awareness and knowledge of the nature and functions of all the vocal components (the vocal organs) that make up a superior singing instrument. It also involves a clear understanding of precisely how all the vocal components must first be technically developed, then used to produce the highest possible standards of superior vocal tone, and the art of singing. The superior singer is also highly aware of what they are safely allowed to do with the muscles that control their singing voice, plus what they should not do them, in order to avoid harming his/her vocal instrument. Now, lets address the worrisome questions posed above. Is superior sing a total natural, but exclusive attribute? No, since the skills of a so-called naturally talented singer can be numerated, explained and learned by any individual who is intelligent, disciplines, determined, and highly focused, who can find and study with an experienced, highly knowledgeable voice teacher who possesses exceptional teaching skills. The serious student must find, then study with an experienced, highly knowledgeable voice teacher who possesses exceptional teaching skills. This master teacher must have him/herself intensely studied the history, principles, and practices of vocal pedagogy. These have been passed down to present day singers and voice teachers by the great singing-voice teachers of the historical past, through their writings. And they should be familiar with the voices and careers of many, if not all, the great singers of the past; either through having heard them in person, or having heard and studied their methods through their recordings. All superior voice teachers should have sung well, themselves, at some time in the past. It is better still if they can still sing well. This is required to truly be experienced, qualified and therefore capable of producing an outstanding vocal student. They must know precisely how to teach all the necessary principles and practices that go into the structuring of a superior singing instrument. But of special importance, they must know when it is time for them to teach their pupils how to mix or combine the muscular controls and timbres of certain vowels with other specific vowels. It is imperative since the vowel mixing process alone can allow them to become professionals.

Please do not confuse vowel mixing skills with the maneuvers of vowel modifications. The most advanced level of vocal development and attainment can only be enjoyed and realized through the total equalization and unification of the singers complete range. This involves the mixing or joining together of the muscular controls of the five classic Italian vowelsu (oo) i (ee), e (eh), o (oh) and a (ah). When it comes time to equalize and unify the complete range, it is time for the singer to be taught new understandings of the five classic Italian vowels which will enable them to reap many benefits. During earlier phases of vocal development, prior to arriving at the point when it is time to equalize and unify the singers complete vocal range, he/she has been repeatedly instructed to always produce the purest form of each vowel. But now, as the student begins the process of mixing or connecting the muscular controls of the five classic vowels with each other, he/she will finally and fully understand why the earlier rulings concerning the production of absolutely pure vowels was so necessary. During this advanced phase of vocal development, the singer will come to clearly understand the major differences between merely possessing a very good singing voice and certain skills with vocal exercises scales and actually possessing superior singing skills. It is this advanced phase of vocal development which permits the vocal student to depart from his/her long, testy, arduous earlier years of voice building and hopefully become a professional singer. Meaning that, after so many years of studying and paying, the advanced student can finally place a financial value upon his/her singing and receive financial compensation for all his/her years of sacrifice and hard work.

The five classic Italian singing vowels and the ideal order of voice building which they demand, before they will render a professional singing voice over to the student

Most present-day vocal training methods fail to clearly instruct the student how to utilize the five classic Italian vowels in order to bring his/her voice from the early amateur state of existence to the state of a professional singer. Most vocal students lack both basic and advanced knowledge about the five singing vowels. As a consequence, they naively, haphazardly employ all five vowels without realizing the potentially negative effects they can exert upon the developing singing voice, both physically and mentally. Nor do they realize how doing so creates much inappropriate and counter-productive mental imagery regarding what a superior, professional singing voice actually is, and how one must actually sing with it. These misconceptions about the five classic singing vowels have been repeatedly passed down to present-day vocal students for far too many decades. This is so because most voice students are mistakenly told they must use the same muscles that produce their speaking voices when they exercise their singing voice, and then attempt to sing with it. The nave students readily accepts what they have been told as being true. Attempting to sing with the muscles of the speaking

voice is nave, counterproductive, and dangerous guess work. This erroneous concept inflicts much damage upon the vocal organs. And even worse, it conjures up highly unrealistic mental imagery of what the students singing voice actually is and how it is to be used. When this has occurred, it will be very difficult to find a qualified voice teacher who knows how to undo all the physical damage and misleading mental imagery that has already been done. The most damaging vocal principle frequently perpetrated upon most present-day vocal students is for the teacher to start their training with ascending vocal exercises which employ the raw, unmixed or unblended a (ah) chest voice vowel. Most vocal students naively accept these exercises because the raw, unmixed a (ah) vowels sounds and physical sensations are consistently tangible for them. And, these naive students firmly believe theyre making vocal progress. As a consequence, they readily misinterprets this wrong training as being correct and speedy. Perhaps the international vocal training community would experience a technical renaissance if the tried the true, proven principles and practices of old Italian school of Head Voice Training were to be reinstated. But that could only happen if a majority of present-day voice teachers experienced a sudden epiphany. Such a moment of insight would reveal clearly to them that the raw and unmixed chest voice a (ah) is not the vowel with which to begin their students vocal training. It is, instead, the last vowel to be applied in order for the student to graduate from training. Presently, however, the raw chest voices a (ah) vowel sounds and muscular actions are the most seductive for most voice teachers to use. And from the students point of view, the incorrect a (ah) responses makes them believe that vocal training is easy and a snap. These students dont realize that the raw and unblended a (ah) vowel can also be the most damaging vowel for their singing voices.

The ideal arrangement and passage through the five classic, Italian vowels is as presented below: u (oo), i (ee), e (eh), o (oh), a (ah) Gradually we will explain why the five Italian vowels must be arranged and applied in this advantageous order, as shown in the illustrations above. We will also be discussing the muscular controls and structural influences of each individual developing pitch of the complete range. And how, as structural tools, the five classic Italian singing vowels can and should be used.

Each individual vowel automatically and undeniably exerts its individual influence upon a selected tone

Each individual vowel automatically increases or decreases the lower registers muscular influence upon a selected pitch. And each individual vowel manifests its own tonal timbre with a selected pitch which is being exercised. These factors can be experienced if one selects a particular pitch and performs the Ideal Passage through the five singing vowels on it, without stopping to take a new breath between each vowel change. The ideal arrangement and passage through the five classic Italian vowels exercise must start with the u (oo) vowel, then the singer passes on to the i (ee), then to the e (eh), then to the o (oh) vowel, and finally he/she arrives at the last a (ah) vowel. During the process of vowel changes, there occurs an automatic and undeniable increase of the lower registers muscular participation with the selected pitch, and a new and different vocal timbre with each succeeding vowel. These rules apply to all the vocal states in which the vocal instrument may be found, including the beginning or final stage of development, or a state of upper register dominance, or lower register dominance. Once the singer departs from the first u (oo) vowel and changes its throat-socket to the throatsocket of the i (ee) vowel, there occurs an automatic and undeniable increase of lower register muscular activity with the selected i (ee) vowel and also a change of a vocal timbre. Further increases of chest register participation and vocal timbre change occur when changing to the throat socket of the e (eh) vowel, and then to the o (oh) vowels throat-socket. Still another increase of chest registers participle and vocal sound timbre change occurs when changing the o (oh) vowels throat-socket to the throat-socket of the a (ah) vowel. When the a (ah) vowel has been established, the potential maximum participation of the lower register has occurred, which results in many vocal timbre changes in different sections of the complete range. For theoretical purposes, let us assign each individual vowel (after departing from the u (oo) vowel, which is the purest and most detached from the chest voice of the five vowels), a 25% value, so that the total of these four vowels makes up 100% of the lower registers activity (See the illustration below)

This reference chart above is more theoretical than actual, since no single part of the singing instrument can ever be truly detached from any or all of its parts. However, this can serve the singer as helpful vocal imagery when applying the five classic Italian vowels. Although these percentages may not be scientifically precise, undeniably, there does occur considerable increase of lower register muscular participation with each vowel change. The opposite is true when performing the Ideal Passage through the five classic vowels in a reverse direction, starting with the a (ah) vowel, which evokes the fullest connection of the lower register to the upper register. When the a (ah) vowel is operating, the "workload" is at its highest level. When the singer changes from the a (ah) vowel to an o (oh) vowel, then to an e (eh), then to an i (ee) and arrives finally to an u (oo) vowel, he/she can understand the gradual decrease of the lower registers muscular participation with each successive vowel. The beginning singer should not become anxious if this seems complex and overly mechanical. With repeated references to and subsequent applications of these important rules regarding the vowels, how they activate varying percentages of the upper or lower register participation, and alter vocal timbres sounds, these concepts will become easier to understand. It should also be noted that with each change of vowel, during the ideal passage through the five singing vowels, starting with the u (oo) vowel, then passing to the i (ee), then e (eh), then o (oh), and arriving finally at the a (ah) vowel, there automatically occurs an increase of the each individual vowels throat-socket space size.

The fixed rules of the ideal passage through the five singing vowels also apply to the progressive stages of development of all singers complete pitch ranges When it comes time for the equalization and unification of the complete range, the precise order of the Five Classic Italian Singing Vowels must be rigidly maintained, since this order is the main factor which enables the singer to accomplish it structural goals. This Ideal Arrangement begins with the u (oo) vowel, followed by the i (ee) vowel, then the e (eh) vowel, then the o (oh) vowel, and finally the a (ah) vowel. By applying special exercises which utilize and take advantage of this ideal and precise order of the Five Classic Singing vowels, each individual pitch of the Complete Range can be gradually transformed away from the thick, cumbersome muscular contours of the Chest Range, and completely converted to the thinner, malleable muscular contours of the Head Registers Range. When beginning this conversion process, the essential tool with which to appropriately start is the pure, detached falsetto, head voice version of the u (oo) vowel. The detached, head voice version of the u (oo) is distinctly different from all the remaining vowelsthe i (ee), e (eh), o (oh) and a (ah), where projecting power is concerned. This means that at the beginning of the conversion process, the detached falsetto u (oo) vowel activates no projecting vocal power whatsoever. This is highly advantageous to the singer for obtaining success with the conversion

process. This is because the head voice version of the u (oo) vowel is capable of blocking and completely holding back the Chest Registers negative power with any and all selected pitches of the complete range. (Understand that there also exist a positive use of the chest voices power). However, its negative power factor is always ready to firmly manifest itself, when the singer gradually changes the throat socket of the u (oo) vowel to the throat-socket of the head voice version of the i (ee) vowel. The i (ee) vowel will also create for a selected pitch an extremely small, narrow, compressed starting point from which the singer will proceed further, in order to fulfill the remaining maneuvers of the exercise. It is the establishment of this small, narrow, compressed starting point, created by the detached head voice i (ee) vowel, which is the most important factor about all the conversion exercises. This is because that starting point represents all the principle important contributions of the Head Voices muscular controls, the head voices thinness, its high, essential malleability, and its muscular contours adjustability. All of this is in contrast to the negative contributions of the Chest Voices thick, rigid muscular contours. As the singer proceeds further with the conversion exercise on the same selected pitch, he/she then changes the throat-socket of the head voice i (ee) vowel to the throat-socket of the e (eh) vowel. Moving on with the same exercise and the same selected pitch, the singer changes the e (eh) vowels throat-socket to throat-socket of the o (oh) vowel. And then converting the throatsocket of the o (oh) vowel to the throat-socket of the a (ah) vowels throat-socket. That vowels fully open throat-socket completes the use of all four power-connecting vowels, and it also brings the conversion exercise to its conclusion. After the above exercise has been completely and successfully accomplished, the singer should rest rest his/her voice. Then he/she must reflect back upon what has been accomplished with the conversion exercise, endeavoring to recall all pertinent, positive factors which he/she deems important for the repetition of the same exercise, and its successful future accomplishment. Eventually, all the pitches of the singers Complete Range must be submitted to these same structural, developmental procedures. But there are some important structural concerns which the singer must carefully consider before deciding which section or sections of his/her complete range to choose for the next conversion exercise (s).

This is what Lilli Lehmann (1848-1929) said about the five classic Italian singing vowels:

From the Italians we learn the connections of the vowels. With every change of vowel there are changes in the positions of the vocal organs since the tongue, palate and larynx must take different positions for each different vowel. How easy it is for the Italians, who have by nature, through the characteristics of their native language, all these things, relative to singing, which others must gain by long years of practice. The Italians mingle all their vowels. They rub them into and color them with each other. This includes a great portion of the art of song, which in every language, with due regard to its peculiar characteristics, must be learned by practice.

This is what William Shakespeare, the outstanding classical singer and pupil of Lamperti. had this to say about the classic Italian Vowels in his vocal manual, The Art of Singing, published by Oliver Distson Company of Boston in 1921. If English taught us sustained sounds and compelled a loose tongue, as the Italian language does, we should intuitively possess a higher standard of freedom of the tongue, and a sense of open throat. But as many sounds of English are, on the contrary, far less sustained, and together without consonants, the difficulty of prolonging the vowels with open throat and loose tongue and lips becomes still more apparent when we try to sing. Singing is considered to be a prolonged and measured tuning of the voice. Such prolongation combined with words becomes a matter of special importance to the American student who is apt to find that it presents great practical difficulties. This is so since English seldom demands that we rest on the vowel sounds, which are ever changing, while singing. The act of prolonging the vowels, demanded by classical singing, is quite strange to our nationality, but not to the Italians, whose language is most favorable to freedom and looseness of throat and tongue.

Some confusing mental impressions concerning the complete range of all singers, before it has been properly and completely unified and equalized, which have caused so many vocal students to misunderstand what is truly needed in order to properly equalize and unify all the pitches of their complete ranges. We remind the reader that the complete ranges of all singing voices, of all vocal categories, males and females, are divided into two main, separate muscular sections which are generally known as the Chest Register and the Head Register. The two registers possess many different, contrasting, opposing and antagonistic muscular factors. They produce a variety of confusing vocal timbers and muscular responses, negative and/or positive, with most vocal exercises to which they are applied. Likewise, there exist many confusing vocal timbres and muscular responses to the five classic singing vowels which also thwart the students attempts to create a completely unified and equalized full range of pitches.

The opposing and antagonistic muscular behavioral patterns of the two vocal registers and the five classic singing vowels actually exist to satisfy many of the human bodys physiological requirements which are necessary to sustain life. For example, the vocal registers enable us to swallow, drink, cough, expectorate phlegm and catarrh, and breath properly. And, the vowels allow us to speak to each other. Where a superior singing voice and classic singing are concerned, each individual register contributes its own critical, indispensable muscular attributes to a completely unified and equalized singing range. Stretching ones imagination, its similar to the process of gathering all the ingredients that are required to bake a cake, or to cook a stew. If by chance you dont have available all the necessary ingredients and you substitute others instead, you certainly should not expect your favorite cake or stew to turn out the way you intended. The same rules apply when attempting to build a superior singing voice. If all the required elements which each individual vocal register contributes to the success of creating a superior singing voice are not appropriately used, one can hardly expect to create their much desired superior singing voice. However, a great many present-day voice students do attempt to create a superior singing voice without utilizing all the required elements necessary to successfully do so. In most cases this is done unintentionally, due to ignorance of what is truly technically required. It is also due to many false and inaccurate impressions which the muscular behavior and responses of the Head and Chest Registers present to the unknowing and uninformed individual, when he/she attempts to create a superior singing voice.

The basic structural requirements for unifying and equalizing the complete range

Many singers, while attempting to unify and equalize their complete ranges, apply numerous different methods, approaches, and exercises. Some use exercise scales which employ but one of the five vowels; others hum a selected pitch, then attach one of the five vowels to it. Others use rapid movement exercises scales, and still others use slow moving exercise scales. Some singers openly profess that they dont know how to properly warm up, and go directly to attempting to sing, leaving the matter of a warm up to chance. Some of the above approaches serve some worthwhile purposes, but none of them are specific and reliable enough to properly and completely accomplish the difficult task of unifying and equalizing the complete range. None of the above approaches demonstrate true awareness of the precise requirements of the task of unifying and equalizing all the pitches of the complete range. Nor do they outline the precise principles and tools which one can use in order to succeed.

The Vocal Zones Singers of all vocal categories must first understand and accept the reality that their complete range is not already a completely assembled and finished instrument, constructed by nature. To the contrary, it is made up of individual groups of pitches which are controlled by specific muscles. I call these groups of pitches, which line the full pathway of the complete range from its bottom to its top, The Vocal Zones. None of these groups of pitches, nor the muscles that control them, can be uprooted and transported to another different area of the singers complete range. However, although each Vocal Zone is anchored to its original, individual location along the length of the complete vocal range, it is still capable of toggling about in various directions. Here is what Garcia said about this phenomenon in his Hints on Singing manual: The path of sound, being formed of elastic and movable parts, varies its dimensions and forms in endless ways, and every modification, even the slightest, has a corresponding and definite influence on the voice.

The illustrations below shows the various Vocal Zones and their precise pitches which are permanently located within the Complete Ranges of most Female Singers and Tenors. Tenors must always remember that their complete range of pitches are actually located a whole octave lower than as they are shown in the illustration below:

For all female singers and Tenors

For all Baritones and Basses

Zone #1 possesses 7 half tones. They are F-natural, F-sharp, G-natural, G-sharp, A-natural, Asharp, and B-natural. These 7 half tones of Vocal Zone #1 reoccur as a single group several times within the complete ranges of all singers, male and female, of all vocal categories. The number of times each individual Vocal Zone reoccurs within the length of an individual singers complete range varies slightly, according to the vocal category of the singer. The Complete Ranges of female singers possess more Vocal Zones than do the Complete Ranges of male singers. This will be explained in more detail later on. Vocal Zone #2 possesses 5 half tones. They are C-natural, C-sharp, D-natural, D-sharp, and Enatural. These five half tones of Vocal Zone #2 also reoccur several times, as a single group, within the complete ranges of all singers, of all vocal categories. The number of times they occur varies slightly in accordance to the vocal category of the singer. The complete Ranges of female singers posses more Vocal Zones than do the complete ranges of male singers. But understand that all these Vocal Zones do not invalidate the principle of the Registers Break which divides the Complete Range of all singers into two major, separate parts. They are generally known as the Chest Register and the Head Register. The Vocal Zones are merely smaller subdivisions of the Complete Range. When one becomes familiar with the Vocal Zones, they reveal their importance to the singer, regarding their overall functions where the singing voice and superior singings are concerned. There is one, primary reason why most present-day attempts at unifying and equalizing the complete range of all singers generally fails. It is because singers do not know that all the various muscular activities of the Complete Range, including those of the Vocal Zones and their specific pitches, can only be controlled and directed toward a specific vocal action and/or purpose by the five Classic Italian Vowels. While actually singer, the singer must come to know how the muscular controls of each individual vowel can and must smoothly interact with the remaining four singing vowels.

The muscular common denominator of control which, at the most advanced level of superior vocal structuring, enables the singer to sing in a superior manner. Changing the throat-socket of one vowel to the throat socket of another vowel which is close by it or distant from it, while actually singing, can only be accomplished in a smooth, musical and successful manner if there exists a muscular common denominator control available to the singer. This makes all these difficult vowel maneuvers highly possible. And, total control and success with the various vowels maneuvers must not be a one-time, chance-occurrence! Success must be consistently available to the singer, at all times, and during all maneuvers. This is absolutely required in order to grant to the singer the necessary confidence he/she needs in order to accomplish the high vocal standards of professional singing. While actually singing, this common denominator control mentioned above does actually exist! It is called the mixed voice.

The Mixing of the Vowels The classic Italian u (oo) vowel is The Starter Vowel with which to begin the vowel mixing process. Here are some interesting facts you should know concerning the classic Italian, detached falsetto u (oo) vowel. First, it is important that the detached falsetto, head voice version of the u (oo) vowel [as well as the same detached falsetto version of the remaining four classic Italian vowelsi (ee), e (eh), o (oh) and a (ah)] must be pronounced in the same manner as they are pronounced by superior Italian singers, while they are actually singing. The detached falsetto, head voice version of the u (oo) vowel is the most unique of all the five classic Italians vowels. It serves as the starter vowel for all superior tone. The detached falsetto, head voice version of the u (oo) vowel is the host vowel to and for the remaining four vowelsi (ee), e (eh), o (oh), and a (ah). The singer must forever seek each vowels purest form in order to exercise and/or sing. A correctly produced detached falsetto, head voice version of the u (oo) vowel must be totally detached from all chest voice power. And, the singer must always be able to separate the disconnected head voice u (oo) vowel from the muscular controls of the remaining four vowelsi (ee), e (eh), o (oh), and a (ah). In its detached form (detached from all the remaining four vowels and from all chest voice power), the u (oo) must not possess any solidity or projecting power of its own. It must remain hollow, totally airborne, and be totally sustained by the energy of the breath stream. In its connected form, which does not concern the reader for the time being, it must relate to the i (ee) vowels chest voice power. This is particularly the case with the Middle and Top Ranges tones. The four remaining vowelsthe i (ee), e (eh), o (oh), and a (ah)when connected to the detached falsetto, head voice version of the u (oo) vowel are all capable of activating the power factor of the chest voice. It is also important to know that when any of these four vowels have been properly connected to the detached falsetto u (oo) host-vowel, each of these four vowels negative potentials are immediately buffered, restrained, and rendered benign by the muscular controls of the detached falsetto, head voice version of the u (oo) vowel. The i (ee), e (eh), o (oh) and a (ah) vowels, in their more advanced state of muscular development, have great potential for becoming towards each other. Whenever this antagonism manifests itself, it seriously interferes with the singers intention to create a smooth, completely equalized and unified Complete Range. However, these negative potentials may be halted and overcome if and when the singer knows how to connect and/or disconnect the projecting power of the i (ee), e (eh) o (oh), and a (ah) vowels to/ from the detached falsetto u (oo) vowel. This explains why so many young, talented, promising singers get their singing careers off to a good start, when their voice are still small and not yet fully developed. Then, if and when the muscles that control the i (ee), e (eh), o (oh) and a (ah) vowels have not been equally developed through the singers complete range, by initially connecting each of them

individually to the detached falsetto, head voice version of the u (oo) vowel, they will become combative with each other, and highly unmanageable. When this occurs, many professionals are forced to stop performing publicly, in order to resolve their vocal problems. Sadly, few of them ever do, since they rarely know why their singing voice has failed them, nor how to refresh and restore it. Nor do they know of any vocal teachers who could accomplish that task for them. This sad scenario could have been avoided if all those professionals had known all the principles and practices of vowel mixing, and had used its principles and exercises to bring their incompletely developed voices to their fullest level of structural development. I want to take this opportunity to ask vocal students, voice teachers, vocal coaches, and theatrical critics to pay special attention to the singing of all professional singers whom they may soon have the opportunity to hear in person. Carefully observe if any of them can sing a clearly formed u (oo) or i (ee) vowel anywhere in their complete ranges, but particularly in their top ranges. Unfortunately, I believe that they cannot. This is so because the u (oo) and i (ee) vowels are generally no longer being properly employed in contemporary vocal training practices. These two vowels, the i (ee) and the u (oo), possess technical mysteries and great structural benefits for all singers of all vocal categories. Tragically, they are no longer known or being taught. But these lost mysteries and benefits will be completely revealed in this Blog Entry. To structurally make all the pitches of the singers complete range behave harmoniously with each other, all five of the classic Italian singing vowels must be closely joined and mixed with each other, in a special way. In a sense, the word mixed is inappropriately applied when describing how all five classic Italian singing vowels must be mixed or rubbed into each other as the late, great soprano Lilli Lehmann put it, in order to make all their individual muscular controls smoothly collaborate with each other while actually singing. The phrase mixing the five classic singing vowels with each other suggests that each of the five vowels individual physical forms can be dismantled and then be combined or mixed with the dismantled parts of one or more of the remaining four vowels. But doing so would permanently transform all five vowels into other and completely different forms. Envision many tiny grains of salt and pepper being mixed together with each other, and being transformed into a new, different, speckled black and white form. It has become a totally new version of these popular seasoning ingredients which cannot be converted back to the previous, separate, individual forms. If that is what mixing means, it cannot be done to the five classic vowels. What actually happens during the process of mixing the vowels is that certain vowels are made to physically align closely with each other, as opposed to being mixed with each other. Once the muscular controls of two or more vowels have been closely aligned with each other, they may bond tightly together. The singer can accomplish all of this by positioning one selected

vowel very close to another selected vowel, and then increasing the level of breath intensity to both vowels. After this has been accomplished, the singer most retain the option of disconnect both vowels again. Otherwise, the mixing and binding together of one or two, or even more vowels, could not be effectively nor successfully utilized while the singer is actually singing. This close aligning and binding together of certain vowels will train, muscularly develop, and instructs two, three, or more vowels precisely how to mix and bond with each other. They must also learn how to quickly or slowly separate from being bonded to and mixed with each other, in order to allow the singer to move on to new mixed version of two or more different vowels and their accompanying pitches. After many preliminary exercises have been applied to the developing singing voice over a long period of time, the singer must learn how to precisely mix the five classic vowels muscular controls swith each other. Later, after this vowel mixing technique has been learned, applied, perfected and totally mastered, and when the singer is actually singing, he/she then uses his/her muscle memory recall to slowly or rapidly align two or more vowels closely to each other, apply an appropriate amount of breath intensity, and then mix their muscular controls together. However, in order to perform all the desired vowel maneuvers as they have been described above, the singer must be a master at applying the various intensity levels of the breath force. In beginning to learn the vowel aligning and mixing process, the singer must be made highly aware of the rigid order of the five classic singing vowels positions and alignments, relative to each other. He/she must understand and firmly adhere to this order. Correctly doing so could bring about:

The birth of the singing voice. The vowel mixing process can be applied when the singer properly evokes a pure, totally detached falsetto u (oo) vowel, with a selected pitch of his/her complete range. He/she then attempts to mix its muscular actions and vocal timbre sounds with the muscular actions and vocal timbre sounds of a pure, detached falsetto, head voice version of the i (ee) vowel. But let us dwell for the moment on the importance of evoking the purest form of detached falsetto starter pitch u (oo) vowel. The singer will understand if he/she has succeeded in properly evoking a pure, totally detached u (oo) falsetto pitch when it is hollow and totally devoid of all vocal vibrations and projecting power. This is what two great master voice teachers of the past advised about the appropriate manner of evoking a pure head tone:

Let him take care, however, that the higher the notes, the more it is necessary to touch them with softness, to avoid screaming. Tosi (1547-1727) Observations on Florid Song

This is what David A. Clippinger, one of Americas earlier, great voice teachers had to say: The development of the upper head voice, is the most difficult as well as the most important part of the training of the singing voice. This will be readily admitted by every experienced singing teacher. Why is it that after two, three or more years of study so many upper voices are still thick, harsh, and unsteady? The pure head voice is unique in its beauty. It is full of freedom, elasticity, spiritual exaltation. It seems to float, as it were, in the upper air without connection with a human throat. Its charm is irresistible, alike to the singer and to the listeners. It is the most important part of any singers equipment. Why is it so difficult and why do so few have it? In preparing the head voice the student must begin with a tone that is entirely free from all downward-pulling resistance of the chest voice, and build from that. With a majority of large voices this means practicing with a light, soft tone. A voice that cannot sing softly is not rightly produced. David A. Clippinger (1860-1938) The Head voice & Other Problems Kimball Hall, Chicago, May, 1917

Correctly accomplishing the total equalization and unification of the complete range of all singers should begin to take place in one particular section of the complete rangethe Top Range. It should be done by selecting and evoking one of several Top Range pitches with the purest, softest, detached falsetto, head voice u (oo) vowel.

For all Female Singers and Tenors

The illustration above shows four pitches from which all female voices and Tenors may select a pure, detached falsetto starter tone u (oo) vowel, with which to begin the process of mixing or joining of the five classic Italian singing vowels to each other. It is this mixing process which accomplishes the total equalization and unification of the singers complete range. If singers experience a great deal of trouble in properly evoking these detached falsetto u (oo) starter vowel tones, it suggests that their Middle and Lower Ranges tones are too thick and weighted down with excessive, negative chest voice influence. If that be the case, the singer should perform many descending scale exercises with their Middle and Lower Range tones, using a soft, hollow detached falsetto u (oo) vowel. Take notice that these four pitches are arranged in a descending order. This is to remind the singer that it is highly advantageous to perform these exercises in a descending direction. Tenors must remember that the pitches shown in the above illustration are notated an octave higher than they are actually located. The illustration below shows four pitches for Baritones and Bass voices from which they may select their first detached falsetto starter tone u (oo) vowel, in order to begin the process of mixing or joining the five classic Italian singing vowels to each other. They are presented in a reverse order to remind the singer that it is highly advantageous to perform these exercises in a descending direction.

For all Baritones and Basses

The first pitch to be mixed

I suggest you select the F-Natural (see the two illustration above, and the two below), using the softest, hollow detached falsetto, pure head voice u (oo) vowel.

u (oo)i (ee)

u (oo)i (ee)

Remember to apply all the important rules that have been presented above for correctly evoking a selected pitch that employs the detached falsetto or head voice form of the u (oo) vowel. First, inhale an exaggerated amount of breath. Then cautiously evoke a soft, ethereal, hollow, detached falsetto u (oo) vowel. Make sure it is totally pure, and that it possesses no power or vibrations derived from the Chest Voice whatsoever. You must not allow the purity of u (oo) vowel to inappropriately adjust itself to an o (oh) vowel or an a (ah) vowel, as is the tendency with most American students. First, inhale an exaggerated amount of breath. Then cautiously evoke a soft, ethereal, hollow, detached falsetto u (oo) vowel. Make sure it is totally pure, and that it possesses no power or vibrations derived from the Chest Voice whatsoever. You must not allow the purity of u (oo) vowel to inappropriately adjust itself to an o (oh) vowel or an a (ah) vowel, as is the tendency with most American students. While slowly changing from the throat-socket of the u (oo) vowel to the throat socket of the i (ee) vowel, which is physically very different from that of the u (oo) vowel, many physical adjustments of the singers throat muscles must be allowed to occur. These physical adjustments occur at the upper posterior area of the mouth cavity, behind both the soft and hard palates. The needs of these adjustments are communicated to the singer through subtle but graphically felt muscular and nerve movements. However, these muscles will not be able to correctly change and adjust themselves away from how they behave and operate with the u (oo) vowel, and readjust themselves to the ways they must behave and operate in order to accomplish the pronunciation of the i (ee) vowel, unless the singer directs the energy of the breath flow to them. While doing so he/she must maintain completely loose tongue, lips and cheeks, and lower jaw. This will facilitate these muscles adjustments to accomplish the change from the throat socket of the u (oo) vowel to the throat socket of the i (ee) vowel.

We again remind the reader what William Shakespeare, the outstanding classical singer and pupil of Lamperti, had to say about the classic Italian Vowels, in his vocal manual, The Art of Singing, published by Oliver Distson Company, of Boston, in 1921: If English taught us sustained sounds and compelled a loose tongue, as the Italian language does, we should intuitively possess a higher standard of freedom of the tongue, and a sense of open throat. But as many sounds of English are, on the contrary, far less sustained, and together with our consonants, the difficulty of prolonging the vowels with open throat and loose tongue and lips becomes still more apparent when we try to sing. Singing is considered to be a prolonged and measured tuning of the voice. Such prolongation combined with words becomes a matter of special importance to the American student who is apt to find that it presents great practical difficulties. This is so since English seldom demands that we rest on the vowel sounds, which are ever changing, while singing. The act of prolonging the vowels, demanded by classical singing, is quite strange to our nationality, but not to the Italians, whose language is most favorable to freedom and looseness of throat and tongue.It is a basic and sound principle that while actually singing, and while changing from one particular vowel to another, the singer must allow and maintain a loose throat, tongue, cheek muscles and lower jaw. American singers frequently rejects these principles, and often find them ridiculous. This is because almost every present-day American voice student has been taught that they must use the same muscles when singing as they use when speaking. Not only is this concept ridiculous, it is difficult to accept that rational individuals, deeply and intensely involved with superior, historical documented classical vocal pedagogy, would believe in and totally accept such nonsense as fact. It is not only an insult to reason and logic, it is an affront to any intelligent persons perceptions of reality. The student must accept the fact that his/her tongue, lips, cheek muscles, and lower jaw all play important roles during the actual accomplishment of superior classical singing, and make him/herself aware of how precisely this is to be accomplished. When departing from the Lower Range and attempting to enter into the pitches of the Middle Range, the student must acknowledge the demand for and fully maintain a loose tongue, lips, lower jaw, and cheeks muscles. Otherwise his/her attempts at becoming a successful classical singer is doomed to fail, and from the very start of training.

Understanding the requirements of the tongues placement positions and movements while actually singing All proper structural principles and practices which employ the detached falsetto, head voice version of the five classic Italian singing vowels when structuring a superior singing voice, have almost completely disappeared from all the vocal studios of the world. This has been the case for quite sometime now!

This has caused and encouraged the inappropriate employment of the raw, unmixed chest vowels on ascending vocal exercise scales, primarily using the (ah) vowel. It has occurred when denying that the singing voice is divided into two major, separate muscular groups, known as the Chest Voice and The Head voice. There has been a complete failure to recognize that these two muscular system are opposed to and highly antagonistic toward each other, and that the antagonism must be nullified. There is no understanding that all the muscular contributions of both registers are absolutely essential to the process of constructing a superior, classical singing voice. At the time of this writing, it is May, 2008. The Chest Voice School of Voice Training has had the chance to prove itself. It has failed miserably! Lets revive and reinstate the principles and practices of the old Italian, Head Voice school of vocal training!

Returning to the awesome, highly productive principles and practices of mixing or connecting and binding the five classic singing vowels to each other, in order to completely unify and equalize all the pitches of all singers complete ranges

The most important and highly beneficial vocal structuring achievement which all singers must accomplish in order to attain a superior singing voice is for them to learn how to train, reposition, and use their tongues while actually singing. This takes a very long time to accurately and completely accomplish. This skill is necessary in order for the singer to musically and correctly ascend his/her complete vocal range from its bottom and enter into the area of the Wide Passaggio, from B-Natural pitch below middle C to the G-Natural pitch above middle C. This area houses the mystifying and troublesome Registers Break. With this skill, it becomes possible to then ascend further upward and enter into the Top or head voice Range. And with this skill, the singer can produce accurate, superior sounding vocal tones with clear and understandable vowels. The singer must learn to structurally reposition his/her tongue away from its normal positioning maneuvers and radically alter its basic resting position and its muscular responses and behaviors. They must be appropriate to and highly cooperative with the singers desire and intention of superior classical singing. The tongue operates mainly to accomplish such critically important, life-preserving purposes as eating, swallowing, breathing, and speaking, plus other less important functions, operating in the customary manner, it will quickly, totally, and consistently block all singers desires and intentions to produce accurate, superior sounding notes, with clear, distinct vowels. This is

particularly true within the borders of the The Wide Passaggio which houses the mystifying and troublesome Registers Break. Obviously, something radical must be done structurally to the tongue which will permanently remove the blockages it creates for all singers.

The detached falsetto, head voice version of the i (ee) vowel comes to the rescue.

The only vowel, of all the five classic Italian singing vowels, which can serve to accomplish the permanent repositioning and retraining of the tongue is the detached falsetto, head voice version of the i (ee) vowel. The right i (ee) vowel is capable of lifting the tongue out of its usual resting place in the lower channel of the throat, then moving it upward in the throat channel, and repositioning it inside the mouth cavity. But the tongues full size is too large to fit into the mouth cavitys limited space. However, the tongue possesses many highly adjustable muscles which allow it to adjust its size and its excessive bulk in special ways, so that it can fit itself comfortably into the mouth cavity. The tongue accomplishes these necessary adjustments by automatically hunching its middle section upward, towards the hard palate, which is situated just above it. After the tongue has created this mound, it positions it toward the rear of the mouth cavity, and just below the soft palate. In order for singers to sing properly through the Wide Passaggio and the mystifying and troublesome Registers Break, they must lower their soft palate toward the top of the tongues mound, then bind their soft palate and the tongues arched mound tightly tighter. Doing this will create an opening in the upper, posterior area of the singers throat. It will allow the force of the Breath Stream a free and total passage through the Wide Passaggio and the Registers Break. The surging currents of the breath force will not be challenged nor blocked by the tongue, and can ascend further upward in the range to the singers Top Notes. Essentially, the properly applied vocal exercises which employ the detached falsetto, head voice version of the i (ee) vowel will help all singers accomplish the above restructuring of the tongue. Remember, too, that the Y consonant, which is actually a prolonged i (ee) vowel (which the French call their Y-Grecque vowel), will help American, English speaking singers. With its use, they can achieve a complete restructuring and formatting of their tongue positions and behavioral patterns, which are necessary for superior classical singing.

Adding breath force intensity to the detached falsetto or Head Voice version of the i (ee) vowel, in order to develop a selected pitch

After properly evoking and sustaining a pure, detached head voice version of the u (oo) vowel tone in order to develop it, the singer must change from the throat socket of the u (oo) vowel to the throat socket of the i (ee) vowel. The detached falsetto head voice version of the i (ee) vowel is very unique in many ways. A proper i (ee) vowel is the thinnest of all the five classic Italian vowels. The singer must retain its original thin form throughout the entire period of vocal structuring, and thereafter as well. When correctly evoked, the detached, head voice version of the i (ee) vowel will turn the pitch being sung upside down, facing toward the very top of the singers range. And, it will also always position the singers vocal cords toward their closest approximation with each other. These are inherent, natural muscular responses. They will occur whenever the singer properly evokes a detached falsetto, head voice version of the i (ee) vowel, for developmental purposes, with a selected pitch. However, while the proper, detached falsetto head voice version of the i (ee) vowel commands the vocal cords to move themselves to their closest approximation with each other, their doing so presents all singers with a special challenge. How can the singer allow the head voice i (ee) vowels muscular commands to adjust the vocal cords to their closest approximation with each other, while not allowing the vocal cords to close completely? If that were to happen, it would completely shut off the flow of the breath stream. This breath flow is the only energy force the singer possesses, and must use, to enable him/her to apply various intensity levels of the breath force to a selected pitch and its accompanying head voice i (ee) vowel. Only though its use can the singer achieve its maximum potential development of the pitch/vowel. We will discuss this in more detail, later. The foregoing poses a dilemma to all singers. It is the main reason why so many singers fail to understand how to accomplish a properly evoked, single, totally pure and detached falsetto i (ee) vowel tone, much less fully develop it. And, it is the answer to the great American singing teacher David Clippingers long unanswered 1917 question: The development of the upper head voice is the most difficult as well as the most important part of the training of the singing voice. Why is it so difficult and why do so few have it? By the way, the singer must only use the detached falsetto, head voice version of the i (ee) vowel, and never the chest voices version of it. This is so because the chest voice version of the i (ee) vowel immediately and unavoidably brings the vocal cords to their closest, and totally closed positions, which immediately stops the breath from flowing through them. This negative factor renders all chest voice versions of the i (ee) vowel totally useless for vocal developmental purposes.

The issue concerning the proper head voice version of the i (ee) vowel and its complex needs, and the difficulties it may present, is one of strongest obstacles all singers must overcome. And it must be overcome! We now present another positive and beneficial structural contribution of the detached falsetto, head voice version of the i (ee) vowel, which helps all singers create a superior singing voice. The head voice version of the i (ee) vowel enables all singers to invert all the pitches of their complete ranges away from the negative, downward pulls of the Chest Voice Register, and reassigns them to the positive, upward pulls of the Head Voice Register.

The Process of Inversion of all tones of the complete range

The singer accomplishes this critical inversion process with all the tones of his/her complete range by starting the process at the top head tones section of their complete ranges. This would be F2-Natural to B2-Natural above C2 for all female singers and Tenors. And F-Natural to BNatural above Middle C for all Baritones and Basses. The inversion process can only be accomplished on a tone-by-tone basis. For all female singers and Tenors, it is worked in a descending direction in the range, from the F2-natural to the very bottom of the compete range, and with the Top Range, from F2-Natural to the very top of the complete range. For all Baritones and Basses, the process is accomplished from F-Natural above middle C downward in the range to its very bottom, and for the Top Range from F-Natural above C upward to the top of the range. There are some exceptions to these general rules and they will be presented later. When the detached falsetto Head Voice Version of the i (ee) vowel has been connected to the pure, detached falsetto head voice version of the u (oo) vowel, the first contact is made between the muscular controls of the Chest Voice and the muscular controls of the Head Voice. This first contact between the i (ee) and u (oo) detached head voice vowels begins the process of mixing the muscular contributions and sound timbres of all five classic singing vowels to and with each other. Complete success with the mixing of the vowels on all the pitches of the complete range will nullify all negative responses between the Chest and Head Voice Registers. It is critically important for all signers to accomplish this, in order for them to successfully equalize and unify their Complete Range of tones. When the singer accurately changes from the head voice u (oo) vowel to the head voice i (ee) vowel, he/she is also obliged to change and adjust certain muscles operating in upper posterior area of their throat. While doing this, the singer should remain highly aware of the physical

differences that exist between the throat socket of the u (oo) vowel and the throat-socket of the i (ee) vowel. These differences must be completely understood and honored. The singer must be aware that their tongues movements and positions change and adjust as well. These factors play important roles in accomplishing the change from one vowel to the next. Most present day students are not only totally unaware of these facts, they go out of their way to avoid them. These American students consciously abandon all pronunciation distinctions between the five classic Italian singing vowels. They also purposely blur the vowels in a manner similar to when they are speaking. We remind all singers that the muscles used to produce one of the five classic Italian singing vowels are the same muscles that produce all of them. These muscles accomplish the change from one vowel to another by adjusting themselves to accommodate the distinct pronunciation needs of each individual vowel. This is vitally important to understand and totally accept. This means that the same muscles that accomplish all pronunciation distinctions between the five classical singing vowels are also responsible for successfully accomplishing the precise, but different pronunciation of each individual vowel. It is most important to understand that the five classic singing vowels, and the singers duties when singing and changing from one particular vowel to another, are vastly different than those used speaking. The singer must also accomplish the pitch differentials of all five vowels, through adjusting the intensity of the breath for all selected pitches. When changing from one particular vowels throat-socket to the throat-socket of another, the singer must properly manage the breath flow throughout the entire process. Managing the continual and uninterrupted flow of the breath force, when changing from one vowel throat-socket to a new and different vowels throat-socket

The correct method of changing from one particular vowel to a new different vowel involves expert management of the breath force, while maintaining a totally loose throat, tongue, lips and lower jaw. The specific way for the singer to manage the vital energy of the breath force is as follows: The first pitch (and its accompanying vowel) must be evoked exclusively by the energy of the breath force. Only then can the singer apply the breath force in specific ways, in order to accomplish change from the vowel throat socket of the first pitch to the vowel throat socket of the second pitch (and its accompanying vowel). This requires subtle rearrangements and adjustments of muscles located in the upper poster area of the mouth cavity, and above the soft palate. These rearrangements and adjustments must accommodate the new, second pitch and its accompanying vowel-socket. Knowing precisely how the new vowel is to be muscularly formed is critically important. Only then may the singer quickly but cautiously completely cut off the

breath forces intensity from the first pitch and focus it completely upon the second pitch and its accompanying vowel. This will complete the switching process and precisely establish the second pitch and its accompanying vowel. All these muscular rearrangements and adjustments are required to accomplish the vowel switching process can only be carried out by the focused energy of the breath force. This is not accomplished by any direct hands on, maneuvers on the part of the singer. However, all adjustments can be graphically felt by the singer, especially the maneuvers and adjustments of the soft palate. They are similar to the movements and adjustments made by an automobile windshield-wipers. The great Italian tenor Beniamino Gigli stated that the above can only be accomplished by the singer through cervello e volontbrains and will.

Back to the detached falsetto head voice version of the i (ee) vowel

Formulating appropriate mental imagery of the detached falsetto head voice i (ee) vowel is not easy for most American vocal students. This is because when speaking, their English language only employs a highly limited, indistinct, inadequate and barely recognizable chest voice version of the i (ee) vowel. It is clearly inferior. This incorrect version of the i (ee) vowel possesses no similarities to a proper Italian language version. It does not properly summon up the muscles of the Italian i (ee) vowel which are critically needed to accomplish unification and equalization of the singers Complete Range. Of course, the correct i (ee) vowel is necessary to sing the Italian language with an authentic Italian singing pronunciation. There is a reason most American, English speaking students repeatedly fail to produce an authentic Italian i (ee) vowel. It is because they inappropriately expand their i (ee) vowel to the size of the chest voices unusable, broad version of their English e (eh) vowel which creates an improper thickness throughout their complete ranges. Below are some English words that may help these singers produce an authentic, Italian singing i (ee) vowel: knee see key pea he she thee bee me

The witchs voice, or witchs cackle.

Perhaps one unexpected element of a correct, detached falsetto, head voice version of the Italian i (ee) vowel is its surprising, initially shrill and highly unmusical sound. The great master teachers of the past called this unmusical sound La Voce Stregata, meaning The Witchs Voice, or cackle. The singer must not think that this initial, shrill sound will be permanent. Singers must not attempt to change the initially shrill and unpleasant, temporarily shrill sound of the correct head voice i (ee) in a futile attempt to make it sound beautiful and polished. They should not try to reduce the strong and unwieldy force of the breath stream that is required to produce it. This exaggerated intensity of the breath stream and its unfocusable wildness, which is most difficult to control, eventually changes on its own. Gradually, over an extended period and with repeated applications, the detached falsettos i (ee) sounds become mellow, eventually very beautiful and highly manageable. As the muscles controlling the breath forces exaggerated, wild unwieldy flow (which produce the witch voices shrill sound) grow stronger, the sounds they produce began to shrink greatly. Eventually, they can only produce extremely soft, but awesomely beautiful and fascinating whistle sounds. These beautiful, unusual, extremely soft whistle sounds are very characteristic with advanced, developed high pitches of all female voices. But all males singers must be alerted to these progressive sound changes of the witch voices original form. It will progress from the extremely shrill and uncontrollable, to the extremely soft, narrow, beautiful musical sounds of the whistle voice. When the whistle voice finally arrives, all male singing voices will have been greatly advanced in their proper development. They will possess new, superior vocal sounds, and improved muscular controls.

Changing the vowel throat-socket of the detached falsetto, head voice version of the u (oo) vowel to the vowel throat-socket of the detached falsetto, head voice versions of both the i (ee) and the e (eh) vowels

We now present some important, little known facts about these above principles and practices. They must be learned and applied in order to correctly change from the detached falsetto, head voice version of the u (oo) vowels throat-socket to the throat-socket of the detached falsetto, head voice version of the i (ee) vowel with the pitches shown in the illustrations below:

For all female voices and Tenors

For all Baritones and Basses

Later, we will explain how to go about performing the vowel mixing exercises with vowels other than those which have already been presented. We will also explain how to perform them with other sections of the complete range. All singers should keep in mind that when attempting to mix and/or connect the muscular controls and sound timbres of the five classic Italian vowels, they must be maintained in their original order of alignmentu (oo), i (ee), e (eh), o (oh) and a (ah).

The classic Italian u (oo) vowel in its purest detached, head voice form is capable of creating a muscular, common denominator control-factor for all the pitches of the Complete Range. When this precious control factor has been fully and correctly developed, it grants all singers complete muscular control of every pitch of their Complete Range. Understand that this muscular, common denominator control-factor can only be created in a precise structural manner. To create this common denominator control-factor when using a basic exercise approach, the singer must first evoke a detached falsetto, head voice version of the u (oo) vowel. Only after having done that may they connect the detached falsetto u (oo) vowel to the first power connecting vowel which is the i (ee) vowel. After a proper connection between the detached falsetto u (oo) vowel and the first power connecting i (ee) vowel has been successfully accomplished, sustain it for a short while, terminate it, then rest your voice. Repeat this first phase of the vowel mixing process several times. Then reflect upon your accomplishments. The singer is advised to stay with this first u (oo), i (ee) vowels phase of the vowel mixing process for quite some time. They should become familiar with all necessary and appropriate maneuvers, in order for him/her to become very proficient and to form correct mental imagery of how the exercise was accomplished.

Continuing with the vowel mixing process

The singer repeats phase one by making a connection between the detached falsetto u (oo) vowel, and the first power connecting i (ee) vowel as it was accomplished above, but this time they pass on to the third power connecting vowel, which is the o (oh) vowel, sustaining it for a long as there is an appropriate amount of breath energy to do so. Then stop the exercise, rest your voice and reflect back upon your achievements. The singer should consider the ways in which the head voice muscles, located at the upper posterior area of the throat and slightly above and behind the soft palate behaved as each vowel change was being accomplished. Remember that these vowel changes cannot be correctly accomplished if the singer hasnt maintained a free flow of the breath force throughout the process, plus a loose tongue, cheeks, lips and lower jaw. Understand that the muscular adjustments and changes that occur when switching from one particular vowels throat socket to the throat-socket of the next vowel, whichever vowel that may be, do not readily yield to the singer intentions. This is because the switching process is a muscular accomplishment. When the singer first begins to apply the five classic Italian singing vowels to a selected pitch, each change of vowels muscular controls must be won over for the first time, then gradually developed. Each of the five classic Italian singing vowels individual throat socket must sustain a first time, greater amount of breath force intensity than had been applied to the previous pitch and its vowel, in order to fully develop it. After the singer has connected the detached falsetto, head voice u (oo) vowel to the first

power connecting i (ee) vowel, they should have become highly aware of the first time appearance of a solidity-power-factor. This was automatically brought about when the singer changed the throat socket of the detached falsetto u (oo) vowel to the throat socket of the i (ee) vowel. This solidity-power-factor is appropriate and necessary. Understand that incremental increases of this solidity-power factor will occur as the singer then changes from the i (ee) vowel to the e (eh) vowel, then to the o (oh) vowel, and finally to the a (ah). Make special note that the i (ee), e (eh), o (oh) and a (ah) vowels are the four solidity-power-factor vowels. The incremental increases of the solidity-power factor which automatically and undeniably occur with each new change of vowel are all very important and much required. They are necessary in order for the singer to bring all the pitches of their compete range to their maximum level of development. A successful change of vowels from the detached falsetto head voice, starter u (oo) vowel to the first power-connecting-factor, which is the i (ee) vowel, then to the second powerconnecting e (eh), then to the third power connecting factor the o (oh), then to the fourth and final power connecting vowel, the a (ah), requires that the singer make muscular adjustments with each change of vowel. Also understand that once the singer has connected the detached falsetto starter u (oo) vowel to the power-connecting factor of the i (ee) vowel, that connection brings about the first time appearance of the vocal cords vibrato action. The vibrato action of the vocal cords is a natural and correct function of the singing voice. The appearance of the vibrato action, when switching from the detached falsetto u (oo) vowel, to the power-connecting i (ee) vowel, immediately amplifies the pitch while also adding a bright, diamond-like timbre to it. The resonance cavity which houses the selected pitch is lined with soft, sponge-like, highly malleable sinus tissues. These sinus tissues immediately enhance the bright quality of the vocal cords vibrato action. The pitch is then said to possess chiaroscuro. This is an Italian phrase meaning clear-dark, which the old master singing teachers applied to a particular tone when it possessed a bright, diamond-like center and a dark, velvety surrounding,

The special structural contributions of the e (eh) vowel Many intelligent, talented vocal students who possess very good singing voices have not, after much vocal training, brought their complete ranges past the muscular developmental level of the e (eh) vowel. For these singers to progress to the level granted by the e (eh) vowel, then beyond it to the o (oh) and a (ah) vowels advanced levels, represents a major developmental leap forward. This is because total and complete development of these singers complete ranges can only be accomplished through all the structural contributions granted by the e (eh), o (oh), and a (ah) vowels.

Each of the five classic Italian singing vowels, when appropriately formed to accomplish superior singing, commands a closed throat or open throat position, according to the pitch being sung, and the particular section of the complete range in which that pitch is located. These closed and/or open throated positions of the vowels can be readily and graphically felt and understood. To do so, the singer first evokes a comfortable pitch with the detached falsetto u (oo) vowel, then passes on to the i (ee) vowel. The singer should understand that the u (oo) and i (ee) vowels command closed lips positions, and a squat, rather low, horizontal position at the upper, posterior area of the throat. Then the singer changes the throat socket of the i (ee) vowel to the throat socket of the e (eh) vowel. In order for the singer to correctly change from the i (ee) vowels throat socket to the e (eh) vowels throat socket, the lips positions and the upper posterior area of the throat will command graphic changes. They will move away from the closed lips positions and the squat, rather low, horizontal positions which had been dictated by the u (oo) and i (ee) vowels. Success with the e (eh) vowels correct throat socket position will demand that the singers lips, at both corners, extend horizontally, then they curl slightly upward in the manner of a faint smile. The e (eh) vowel represents an important and highly necessary muscular transition point away from the fully closed lips and a squat, horizontal posterior throat position commanded by both the u (oo) and i (ee) vowels. More, broader smile-position of the corners of the singers lips, and a still wider opening of the upper, posterior area of their throat occurs when continuing the vowel changing process from the e (eh) to the o (oh) vowel. When passing from the o (oh) to the a (ah) vowel broader, more exaggerated lips position, and maximum opening of the posterior, upper region of the throat are required. Also, a small section of the singers upper front teeth and a sliver of their upper gums can be seen by listeners. The Great Polish tenor Jean de Reszke (1850-1925) called these facial expressions la grimace du chanteur, the singers grimace. Presently, there has been such a major disconnect from the great principles and practices of the classic past, and some of its great teachers and great singers, such as Jean de Reszke. Im sure some readers may think that all these lips and throat adjustments are strange, funny, and perhaps worthless to present day singers. However, they should consider certain facts: Here is a partial list of some of Jean de Reszkes most famous pupils: Richard Bonelli (one of Americans best operatic baritones), Mme Charles Cahier, Eleonora de Cisneros, Marie-Louise Edvina, Arthur Endrze, Rachel Frease-Green, Kathleen Howard, Hardesty Johnson, Felicie Kaschowska, Miriam Licette, Mary Lewis, Albert Linquest (who taught for many years in California, and produced many successful students of his own), Lucille Marcel, Riccardo Martin, Leila Megane, Carmen Melis (who taught Renata Tebaldi), Marguerite Namara, Adelina Patti,

Bid Sayo, Johannes Semback, Leo Slezak, Maggie Teyte, and Sarah Jan Walker. De Reszke himself was taught by the great Neapolitan tenor, Giovanni Sbriglia. We must qualify our calling the e (eh) vowel a true open throated vowel. It is rather a semi open throated vowel. And the e (eh) vowel commands a major physical departure from the closed throated positions of the u (oo) and the i (eh) vowels. Therefore, the singer must become highly conscious of the necessity, when passing from the closed throated positions of the u (oo) and i (ee) vowels to the semi open throated position and faintly smiling lips of the e (eh) vowel, to maintain a mental image that succeeding with the change is a physical effort. In some ways, it must be viewed as a broad leap away from the closed throated positions of the u (oo) and i (ee) vowels to the semi open throat position of the e (eh) vowel. This leap will lead to the smile position of the lips broadening further, and the upper posterior area of the throat socket further opening with the o (oh) vowel, and assuming its fullest open throat position with the a (ah) vowel. The above is in no way communicated to the singer by the muscles of their singing voice. It is an important discovery of human minds, the genius of the past great voice teachers of the Head Voice School of Voice Training, as they made a supreme effort for man to rise to a higher level.

Returning to the disconnected present What we see today is radically opposed to the above concepts and principles. Most present-day, failed vocal students erroneously keep their lips position and the upper, posterior area of their throats closed toward the positions imposed by the u (oo) and i (ee) vowels. Unfortunately, they do not depart from them and make a large shift towards semi open throated e (eh) vowel, where the singer unavoidably encounters the first open throat position when they perform a complete passage through The Ideal Order of the five, classic Italian vowelsu (oo), i (ee), e (eh), o (oh), and a (ah).

Adding the muscular contributions of the o (oh) and a (ah) vowels The singer should start the vowel mixing exercise with a soft, pure, detached falsetto u (oo) vowel, then pass to the i (ee) vowel, then to the e (eh) vowel. But now they will include passing further on the o (oh) and a (ah) vowels. Before arriving at the o (oh) and a (ah) vowels, the singer will have already passed through the power connecting vowels i (ee) and e (eh), which has incrementally changed their vowel throat sockets to a larger size. The i (ee) and e (eh) vowels have also added the vocal cords vibrato action to the pitch which is presently being exercised. Shortly, the singer will be shifting from the e (eh) vowels throat socket to the more open

throated socket of the o (oh) vowel. We remind the singer that they must make appropriate muscular adjustments of the throat socket with all vowel changes. These adjustments are made to accommodate the differences of each vowels precise mathematical throat socket size. Many American vocal students invariably and erroneously alter the o (oh) vowels purity of pronunciation toward an a (ah) vowel. This is incorrect. Doing so corrupts the pure pronunciation of the o (oh) vowel. It also removes a highly important mathematical-calibrationfactor from the o (oh) vowel which keeps it in perfect mathematical proportion with the four remaining vowels. Precisely accomplishing these mathematical proportions for each of the Five Classic Italian vowels is the main structural influence and purpose of all the vowel mixing exercises. It is to be performed with each and every individual pitch of the singers Complete Range, in order to completely unify and equalize all of its pitches.

The power-connecting factor of the o (oh) vowel The detached falsetto the o (oh) vowel can be rather easily accessed in most sections of the singers Complete Range. However, most singers have no idea whatsoever what the o (oh) vowels purpose, principles and contributions actually are to the successful structuring a superior singing voice. There are singers of all vocal categories, male and female, who are reluctant to add the full, appropriate Chest Voice power to the all the pitches of their Complete Range. Most will at least, in a limited way, accept the chest voice power of the connected o (oh) vowel. This is because a properly produced o (oh) vowel automatically tends to mellow and partially restrain the negative aspects of chest voices power. When the singer ascends their range from its bottom, heading toward the middle and/or top range tones, the o (oh) vowel can round off and mellow the potential raw power of the a (ah) vowel. It can make the ascent less difficult and cumbersome. All singers must consciously or unconsciously, understand that the (ah) vowel may cause the upper middle and/or top tones to become rigid and harsh sounding. Therefore they seldom employ a true, fully formed Italian a (ah) vowel with the middle and top tones of their complete range. Of course, the positive contributions of the a (ah) vowel are highly desirable and invaluable, for obtaining a superior singing voice. Many singers who have been wrongly assigned to lower categories than are inappropriate often favor the use of the o (oh) vowel to maintain an inappropriate dark timbre throughout their complete ranges. Lyric Tenors, Baritones and Basses often favor the o (oh) vowel because it allows them to apply darkish, dramatic sounding timbres avoiding all bright vocal timbres. They do this to present to their listeners what they believe to be the dramatic sounds appropriate to their incorrectly categorized voices. But in reality, these dark timbres they so favor are forgeries, and are not dramatic in any way. They are also inferior vocal sounds which

are not appropriate for their true vocal categories. Even so, these singers themselves wrongly assign their voices to these inappropriate vocal categories. A properly produced Italian o (oh) vowel is very closely related to the Italian u (oo) vowel. The Italian u (oo) and o (oh) vowels share many vocal structuring contributions and capabilities which help the singer achieve many similar structural goals. But the main function and purpose of the correctly produced o (oh) vowel is to buffer and round off the potentially negative, blatant, strident timbres of the raw, unblended chest voice a (ah) vowel. It should be noted that while actually singing, all o (oh) vowels, from the B-flat below middle C for all male singers, and the B-flat above middle C for all females singers, must be slightly tilted toward the bright, fully open-throated a (ah) vowel. Take a blank page and a pair of scissors. Cut out a round shape similar to the o (oh) vowel, then put it aside. Then cut another piece of paper into a square shape, similar to the a (ah) vowels square shape. Place the rounded piece of paper on top of the square piece of paper. Then cut off the four square corners of the square piece of paper, in order to make it match the rounded piece of paper. Study these two pieces of paper for a moment and recall how you rounded off the corners of the square shaped piece of paper with the scissors, in order to make it match the rounded piece of paper. This should give you a clear picture of how the o (oh) vowels muscles can alter and modify the raw square shaped, unblended a (ah) vowels original, troublesome shape, to a harmonious, rounded shape.

Continuing the vowel mixing process by adding the a (ah) vowel As the singer passes from the o (oh) vowels throat socket to the throat socket of the final a (ah) vowel they generally find the precise accomplishment of a purely pronounced a (ah) vowel rather difficult, if not impossible. There seems to be some sort of blockage which keeps them from succeeding. And there is! That blockage presents itself because, to accomplish a perfect Italianate pronunciation of the a (ah) vowel, all three of the power connecting factor vowels which proceed the a (ah) vowelthe i (ee), e (eh) and o (oh) vowelsmust have already had their correct, Italian pronunciation totally satisfied by the singer. And, all four vowels which precede the difficult to attain, final a (ah) vowelu (oo), i (ee), e (eh) and o (oh)must have been brought to maximum development before the singer will be granted a correct, superior sounding, perfect Italian a (ah) vowel.

A closer look at the Ideal order and passageThrough the five classic Italian singing vowels Take another, closer look at the precise arrangement of the Ideal Order and Passage through The Five Classic Italian Singing Vowels u (oo), i (ee), e (eh) o (oh), and finally a (ah). Now understand more fully that there is a special reason why the o (oh) vowel has been placed just before the final a (ah) vowel. That is to assure the singer that the o (oh) vowels rounded

shape can and will modify the raw, square, troublesome shape of the unmixed and unblended a (ah) vowel. When attempting to perfect the a (ah) vowel with all the pitches of the Complete Range (and especially with the pitches of the Top Range), it will be helpful for the singer to slightly modify the alignment of the Ideal Order of the Five Classic Italian vowels. Certain vocal exercises which utilize these modified versions. Some modified versions: u (oo) i (ee)u (oo) o (oh)a (ah) You should try some of these modified arrangements of the five classic vowels in various different sections of your complete range. In some cases, the singers voice has been overly burdened and strained by erroneous, excessive applications of the raw, unblended chest voice a (ah) vowel. Then the only way to properly create the highest pitches of their range (after much undoing of all the wrong, caused by the raw, unblended chest voice a (ah) vowel), is for the singer to cultivate the pitches of the whistle voice with some extreme top notes of their complete range. Those pitches would be from High C Natural to the F-Natural above it for all females singers and Tenors, and from Cnatural above middle C to the E-Natural above it, for all Basses and Baritones. Temporally ignore the lower range, and carry the muscular influences of these whistle tones downward in your range to the B-Fat below middle C for all male singers, and to the B-Flat above middle C for all female singers. Be highly aware that the singer should not attempt to produce solid, chest voice connected tones. Rather, they should seek totally falsetto oriented tones, completely devoid of all chest voice power, which are called whistle voice tones. These whistle voice tones were mentioned earlier.

The pitches of the wide passaggio When it comes time to properly structure the pitches of Wide Passaggio, which houses the troublesome and mystifying Registers Break, it is usually the a (ah) vowel which presents most singers with their greatest problems. This is particularly true with the four pitches that straddle the Registers Break: The E-natural and the E-flat pitches, situated below the Registers Break, and the F-natural and G-flat pitches, situated just above the Registers Break.

Applying some more modified versions of the Ideal Passage of the Five Classic Singing Vowels could be helpful for restructuring the pitches of the Wide Passaggio and the Registers Break area. The 1st edited version of the precise order of five classic vowels is a combination of the i (ee) and e (eh) vowels (Use a pp breath dynamic). This edited version of the ideal order of the vowels is most effective with the pitches of the Middle Range (from E-flat above middle C for

all male singers, downward to Middle C, and from E2-Natural downward to C2-Natural for all female singers). The 2nd edited version of the precise order of the five classic vowels is a combination of the i (ee), e (eh), and a (ah) vowels (Use an ff breath dynamic). This edited arrangement of the order and alignment of of the five classic vowels is most effective when applied to the pitches of the Top Range (from F-Natural above middle C to the B-Natural above it for all male singers, and from F2-Natural to the B2-Natural above it for all female singers). The 3rd edited version of the precise order of the five classic vowels is a combination of the u (oo), i (ee), e (eh) (Use a ppp dynamic). This arrangement of the alignment of the five classic vowels is most effective with the pitches of the Lower Range (from B-natural below middle C, for all male singers, downward to the very bottom of their ranges, and from C2-natural above middle C, downward to the very bottom of their ranges for all female singers). The 4th edited version of the precise order of the five classic vowels is a combination of the i (ee), a (ah) vowels (Use an ff dynamic). This edited version of the five classic Italian vowels is most effective with the last three top pitches of all singers ranges. There can be many other modified versions of the rigid order of the five classic Italian Singing vowels created, but they are too numerous to mention here. Besides, their benefits and applications to a particular singers voice depends on an experienced, expert voice teacher hearing that singers voice in person. The teacher can then make a thorough evaluation of that voices particular structural needs, and apply those techniques deemed necessary. After repeatedly reviewing all the structural information that has been presented so far, the singer should begin to apply the original, unedited vowel mixing exercises to all of the remaining pitches of their Complete Ranges. While doing so, the rigid alignment of the five classic Italian vowels must be respected, making occasional allowances for some edited versions, as have been presented. The singer or voice teacher who urgently wants to learn much more about all these structural principles and practices should present himself/herself to me in person. I will gladly explain to him/her how these vowel mixing exercises can and should be applied, and the expected beneficial results they may grant. Please participatemake some comments!

Although each individual Blog Entry of the series of vocal pedagogy essays allows and encourages the reader to make their own personal comments to me, not as many readers as I had expected responded. Is it because these essays seem too lengthy? Too complicated? Or, is it that you simply dont believe they would be productive?

I have spent many long years learning about all these principles and practices, through my personal experiences, and contacts with many great and famous singers of the past, and some from the present. Insight has come through my own stage directing, singing, and long years of teaching. It has been quite a difficult and time-consuming project to create these Blog Entries and present them to the international public. I would really like to get some feedback! I invite criticism and complements equally. Make your comment!

The End of This Blog _________________________________________________________________

Singing Technique ManualsBy Anthony Frisell The Tenor Voice The Soprano Voice The Baritone Voice A Singers Notebook The Art of Singing on the Breath Flow Thank you once again for your attention and patiencelooking forward to our next session Anthony Frisell Let me hear from you, at www.operarella@gmail.com. If you wish to speak to me, leave me your telephone number and when I have a moment I will call you.

Readers Comments:

JF I know many readers, including myself, appreciate these blog entries on voice. The attention to detail and "Genuine" nature of the content can not be underestimated or surpassed as far as I can tell. However, I am skeptical as to how many readers/singers are willing to take the time necessary to truly implement the numerous and perilously difficult principles indicated because of the direction in which the American and indeed international vocal schools have headed. Namely they have gone for the quick results and pushing young singers to sing in choruses, perform or cover roles so that they may fit into the machinery of the conservatory and young artist program system that dominates the classical voice community. Keep in mind, these pour vocal souls are routinely singing in choirs 5 days a week and taking 1 voice lesson per week, as well as performing in operatic roles or choruses before they have developed their voices! Only a very few lucky, or extraordinarily-informed voice students who have had the

fortune to have a master teacher/singer's influence at an early age can build their voice using the old methods of restricting singing to pure Italian vowels and only singing simple Italian songs for the first 4-7 years. Most of the talented young vocal prospects are sucked into the black hole of unqualified teachers-most have which never acquire real or anywhere near real, professional voices themselves- working at conservatories or young artists programs which only think of their school or program's casting needs and monetary gain, NOT the meticulous and healthy training of the would-be singers that come through their doors. The truth isn't always kind, but the truth is always the truth! Friday, May 16, 2008 - 02:05 PM

lookingout121

There is an unavoidable thread that runs through this series of treatises. It is that good singing is a craft. It is physical, non-subjective and definable. Yes, you must start with an excellent instrument and a brilliant mind, but if you are given gorgeous wood and the best possible tools, and you are told to build a house, but have no BLUEPRINTS well, you will fail. This clear, technique-based viewpoint does not appear to be the popular viewpoint among present voice teachers. Ive studied with five different voice teachers over the course of 20 years in college, at a performing arts school and privately. I will not demonize these people. They were sincere, both in their desire for their students to have viable, better voices and in their belief that they could impart this ability somehow. These were, however, the only two points on which these teachers were clear and in accordance with each other. They were completely unclear, and even at odds, as to how to go about imparting this viable, better voice. These teachers were guessing. Im sure of it. Ive checked. Reading this blog is literally the ONLY time Ive come across someone who had laid out his method, in detail, piece by piece. Painstakingly making sure to cover every possible angle. That alone indicates that Mr. Frisell is not guessing. He is the most comprehensive researcher of the voice I have ever read. And he provides repeated and various historical defenses for his views.

Everyone agrees that opera singers dont sing like they used to. What fascinates me is that people dont follow that thought to the next logical conclusion, which is, they are not TAUGHT to sing like they used to be taught, nor are they willing to STUDY like they used to study. Perhaps saying not willing is too harsh. Perhaps they are not able. Either way, I feel that Mr. Frisell is making a powerful attempt to draw out and inform the most serious and thoughtful singers and teachers (who really should be singers themselves!) and to offer them a technique in the truest sense of the word technique . the body of specialized procedures and methods used in any specific field, esp. in an area of applied science. . technical skill; ability to apply procedures or methods so as to effect a desired result.

Physical. Non-subjective. Definable. And attainable, with massive dedication, drive and focus. I thank you, Mr. Frisell, for taking the time and for caring enough about your art to offer your hard-won knowledge to the vocal community. Tuesday, June 24, 2008 - 11:12 AM

John Moody I wonder if there could be a question/answer section on your site? I know you have used that format in many of your books. I have many, many questions - but my questions seem to be remote from what is currently being discussed in the blog. I will, however, ask some of them in this Comment section for now. A large portion of your published writing deals with overlapping the entire voice with the muscular controls of the falsetto voice (the head voice training system). Once this first, timeconsuming task is accomplished the aspiring singer must develop each tone in a descending fashion by practicing the messa di voce exercises. In these blog entries there seems to be little mention of overlapping the lower range. It is mentioned - but it doesn't seem to be stressed as much as in your earlier writings. Great effort is taken in your earlier writings to warn the singer about the potential dangers lurking in the low range of the voice. "The Singer's Notebook," in particular, describes how the singer must guard against singing any note with the raw chest voice, and, instead use only the chest quality that is "invited" to participate in the tone production

by the more-dominant head-voice muscular system. Chapters are devoted to the difficulty of producing a correct low tone. It is my impression from reading these chapters that the main problem is in actually getting the head-voice controls down low in this range where it doesn't normally function. Anyway, much effort is being spent in these blog entries on the wide passaggio. This is obviously an important area of the voice to work out - but I am so anxious to hear something about how to structure the low part of the range. Beyond the descending falsetto exercises that are being given the aspiring student will be confronted with expectations of having to sing something. Virtually all music makes use of the low range during some portions, or even "most" of the song. Should the singer sing these portions with the "raw" chest voice for now? Or should the singer transpose pieces up? I truly savor every word written in this blog. It is a gift by a Master teacher. I always find more upon rereading. I hope this "Comment" section is an appropriate place to voice some of these questions. Friday, May 16, 2008 - 10:01 PM

Entry 10: Lets talk seriously about serious singing Until now, Ive done most of the talking, through my Blog Entries. But now its your turn. Use the Add a Comment link at the end of this document to present me with a few brief comments about your personal vocal opinions and training experiences. Also, let me know what city, and country you are from. I am especially interested in training young voice teachers who have character, purpose and focus since it will be up to them to transform the present day chaos into the futures order and productivity. They may telesphone me: (212) 246-3385.

Thank you very muchAnthony Frisell

I want to take this opportunity to honor two of my most talented and accomplished students. Both individuals were star, international operatic tenors. Both ascended to great heights of operatic fame and success. They are Sndor Knya (1923-2002), of Hungarian descent, and Flaviano Lab, (1927-1991), of Italian descent.

Sndor Knya International Opera tenor, and Recording Star (19232002)

The following events occurred Some time between 1970 and 1978

I was recommended, as a voice teacher, to Sndor Knya by Robert Fitzgerald, a tenor student of mine who lived in Newark, New Jersey. During the entire time that Bob had studied with me, I was unaware that he and Sndor Knya, one of the greatest operatic stars of that period, had been old tenor colleagues in Germany during the early years of their respective careers. Bob was a fine, jovial, gregarious, good-hearted, outgoing individual. He also possessed a superior singing voice. But he wasnt much good at remembering, or applying technique while singing. He did not possess Sndors acute vocal sensibility and technical awareness about the singing voice in general. I was to witness this for myself after Sndor had begun studying with me. These differences between Bob Fitzgerald and Sndor made it very clear to me why Sndors career quickly took off as it did, and eventually skyrocketed, while Bobs career, despite his outstanding natural voice, did not! Bob Fitzgerald came to study voice with me when he was in his late fifties. He explained that he was not foolish enough to believe that he could still pursue a professional career, but that he wanted merely to restore his voice as best he could. This way, he could sing well for his own pleasure, and in church on Sundays. After starting his studies with me, to Bobs surprise and my delight, his voice gradually improved and eventually became almost completely restored through our work together. Unbeknown to me at that time, whenever the great internationally successful tenor Sndor came to Manhattan to sing Walter in Die Meistersinger, Lohengrin, or Dick Johnson in Puccinis La Fanciulla Del West, at the old Met, located on Broadway and W. 40th Street, Bob would eagerly attend all Sndors performances. Then afterwards, bursting with pride, hed go backstage to congratulate his old buddy. Sndor would often invite Bob over to his 15 West 72nd & Central Park West apartment for dinner, and to enjoy the company of his wife, Annaliese. Bob had known her from the old days together, back in Germany, when Sndor and Annaliese were first married. It so happened that at one of these get-togethers, after Bob and Sndor had devoured one of Analieses scrumptious, old world, German dinners, and had drunk a bit too much wine, they nostalgically slipped into reminiscing about the old times. And Bob, a bit tipsy and feeling sentimental, casually mentioned to Sndor that he was once again studying voice. Naturally, Sndor, to be polite and not play the super star role, urged Bob to sing something for him and Annaliese. Bob smiled at them both, took a large gulp of wine, leapt to his feet and proclaimed, Ok! But, just for old times sake. Bob then sauntered confidently over to the nearby baby grand piano, flopped down on the stool before it, and began playing the introduction to Rodolfos Che Gelida Manina, from La Bohme, with its challenging high tessitura, and potentially throat-splitting final high C.

Sndor and Annaliese looked at each other with wide eyes and raised eyebrows. But luckily, when Bob arrived at Rodolfos high C, he felt the muscles in his throat sweetly whisper to him, Go ahead, Bob, old boy! Tonight, youve got that high C in your pocket! Meanwhile, Sndor had become a bit anxious for Bob, not wanting him to feel embarrassed, should he flub the Che Gelida High C. Suddenly Bob stopped accompanying himself on the piano, stood up straight, and launched a glorious high C in Sndor and Annalieses direction! Sndor was both surprised, delighted, and shocked. After all, glorious High Cs like the one Bob had just sent skyrocketing over Sndor and Annalieses heads didnt grown on wishing-trees. Sndor rushed over to Bob and grabbed hold of his hand. Bob! That was a glorious high C. It forces me to admit that my own high C is no longer up to my old, formidable high standards. I keep getting too many offers to sing those demanding dramatic roles, and promise myself that I will stop accepting them. However, those high, heart warming fees they are willing to pay me for them are damned hard to resist. But Ive paid a high price, in return, for singing them, with certain sections of my upper range. I must meet this new teacher of yours. First thing, early tomorrow morning, I want you to call and make an appointment for me to have a lesson with him. Sure thing. Bob said, chuckling. By the way, Sndor asked, How old is he? Early thirties! Sndors lower jaw dropped. To make a long story short, the next day Bob phoned me, all excited, to say that he and Sndor Knya were long time friends, and that last night, he was having supper with Knya and his wife Annaliese at their apartment. He had sung a very good high C for him, whereupon, Knya asked him to arrange a lesson for him with me. Just before two oclock the following afternoon, I was expecting the arrival of the great Sndor Knya and his wife, Annaliese. Im sure youre all anxious to know what transpired at the great Sndor Knyas first lesson with me, and Im going to tell you all about it very shortly. But first, I want to make it clear to all my readers that before I ever met Mr. Knya, he had already studied voice for many years with the great German voice teacher F. Husler, who had made Sndor into a first rate singer. The problem for Sndor, at that time in his career, was that Maestro Husler had recently died, leaving Sndor without the technical guidance and support of his great maestro. And what was most frightening for Sndor was that he was at the top of his success, with so many important engagements yet to fulfill. But now, in a way, he was so all alone. For some time after his great Maestros death, Sndor had been needing, longing to find, and searching for a first rate vocal collaborator. He sought someone who could guide him through

the confusing maze that all singers are unavoidable obliged to travel during their entire careers, due to the basic nature of the singing voice and its idiosyncratic behaviors. He was searching for someone whom he could respect, and whose opinions and technical advice he could completely trust and benefit from. Getting back to Bob Fitzgerald, again. With a bright, cheerful voice, he had phoned me to arrange a time for Sndor to come and see me for a voice lesson. Then Bobs voice turned suddenly dark, Now, maestro, Sndor in praying that you will be the new teacher hes been searching for all over the world. Since Maestro Husler passed on, hes tried dozens of voice teachers. He even tried Maestro So-and-so, here in Manhattan, on West End Avenue, who has such a great reputation. But after two lessons with him, Sndor had to cancel five performances of the Calaf in Puccinis Turandot. Those cancellations caused Sndor a great deal of worry over the strange condition which Maestro So-and-so had placed his precious voice inand after only two lessons. Plus the loss of a great deal of money, and the loss of confidence of some of his professional associates in their future association with him. So, Sndor respectfully wants you to know, in advance, that if after one or even just two lessons, he decides to discontinue studying with you, you must understand that his foremost obligation, as a professional singer, is to protect his singing voice. I told Bob Fitzgerald to tell Mr. Knya not to be concerned, and that I completely understood his concerns and cautious attitude. I asked that he assure Sndor that I would gladly respect his judgment of his work with me, and his decision to either discontinue studying with me whenever he chose to, or conversely, to continue. After his third lesson with me, Sndor Knya made the decision to continue studying with me for the time being. That time being period extended for nearly eight years thereafter. It continued up until the very end of Knyas professional association with the Metropolitan Opera, as one of its most talented and important star tenor artists. Then Sndor and his wife Annaliese decided it was time for him to retire. Now lets return to Sndor Knyas first lesson with me. Annaliese had come along with her husband to act as a silent judge of whatever technical vocal principles or practices I would ask her husband to perform, in order to protect The family jewels. I usually ask all new students to sing a simple song, but in Sndors case, I purposefully avoided any tests that could make him feel uncomfortable. Instead, I asked him to sing a few simple, sustain pitches on the Italian a (ah) vowel, in the region this registers break. I played a C-sharp above middle C for him on the piano. He smiled at me and produced the pitch I had requested. It immediately started to wobble a bit and he made an attempt to stabilize it.

No I said softly, please, dont try to improve it (I wanted to say dont cover up its problems, but I didnt ). I then added, If there is anything wrong with any of these passaggio pitches, Id like to observe it right away, and then go about repairing it. Occasionally, Sndor would turn to Annaliese and say something in German. German was my least proficient foreign language. But, since my earlier years as a Stage Director, working with the great Conductor Walter Herbert, and the great stage director, William Wymetal, both of whom spoke German, I was capable of understanding enough German to get the gist of what they were saying to each other. I then asked Sndor to sing a few other notes within the area of his registers break. He did so and I observed that several of them were slightly off pitch, and wobbled a bit. After a pause, I said to Sndor, Your passaggio tones have become over weighted with negative amounts of chest voice. Sndor frowned, What can you do about that? I told him, First, I have to reduce the muscular intensity of all of the pitches of the registers break to the softest pianissimo dynamic, then purify those overweighed pitches. Meaning, I must remove all the negative, chest voice muscular pressure that has been placed upon them. When thats been accomplished, we can gradually bring back the power factor to all your passaggio tones to a fff dynamic. Sndor questioned, Will that take long? That depends. I said authoritatively, upon how much time you can afford, from your busy singing schedule, to come and see me. Well, he said with a positive tone of voice, Im free for the next two weeks. So I can come to see you as often as youd like? Every day, if necessary? I asked. Yes. He said, then turned and said something to Annaliese in German, then turned back to me again, but, can you do anything to start these repairs, now? Yes, He said reassuringly, making note of how cooperative and willing he was to entrust his great voice to me. The rest of that lessons time was spent on what I call purifying the particular pitches of Sndors passaggio. This purification process involves using the u (oo) and o (oh) vowels (while excluding the remaining i (ee,) e (eh) and a (ah) vowels), which only engage the muscles that control the head voice. The head voice muscles, when properly applied to any abused pitch, first deny, then totally negate the participation of the muscles of the chest voice which have caused a particular pitch, or group of pitches, to malfunction and sound unmusical. Eventually, if these

pitches are not corrected, they cause damage to the remaining tones of the singers complete range.

Sndor continued to come to my studio for lessons for the next three weeks. By then, we had established a sound relationship with each other of mutual respect and trust. After we had repaired those passaggio tones which had been malfunctioning, we were able to discuss matters of vocal structuring more adroitly and broadly. Sndor was far from nave about his own tenor voice, its positive points and its negative points, nor was he nave regarding the voices of his present, competitive tenor colleagues. He explained that hed made an intense study of the recording of the great tenors of the past, including Caruso, Gigli, Bjerling, and Martinelli, George Thill, Pertile, and many others. At one particular lesson he told me, When I first started my vocal career, I had a more lyric voice and aspired to sing as much as I could of the Italian repertory, Verdi, Puccini, Mascagni, Ponchielli, and others. But since I had married a German woman, lived in Germany, and had learned to speak, read, and write German fluently, I was immediately classified as the next lyric Helden Tenor. And being anxious to get my career started, I reluctantly agreed with those who wanted to send me in that direction that there was a certain dark, dramatic quality to my lower and middle ranges, which would gave them the impression that the Germany dramatic repertory was the direction where my future success lay. But in truth, I had wished to sing more like a pure voiced, Italian tenor in my middle and bottom ranges, but I didnt know technically how to accomplish those goals, now could I find any teacher who could accomplish that for me. And my wife, Annaliese, fully agreed with me. Sndor then said hopefully, Bob Fitzgerald told me that you could convert me from being a Bari-Tenor, like tenors So-and so, So-and so, and So-and-so. They are presently singing on of the international operatic stages of the world, but unfortunately, are gradually declining, because of their inappropriate bottom and middle ranges baritonal qualities. After he said that to me, I looked upon Sndor with greater respect and admiration than before. Most tenors, having attained his professional status and extensive positive reputation would have been more than happy to go all out with the label of dramatic tenor with their voices. But Sndor had now demonstrated a rare insight about the tenor voice to me, and I fully agreed with him. During the following years, we worked together to change his bottom and middle voice away from their dark, baritonal timbres, and direct them towards a more brilliant quality. This superior brilliant quality is known as the gathered voice. The gathered voice, which the old Italian masters called La Voce Racoltata, is a most difficult accomplishment for the tenor. The brilliant tones of the La voce Racoltata are precious and extremely important for the health and long time preservation of any singer who possesses them. As their voices age, and despite singing both the lyric and spinto roles, they can safely add to their repertoires, at the end of their careers, challenging roles such as Canio, in Pagliacci, Samson, in San-Sans Samson and Delilah, and

even Verdis Otello. These roles and others, will not challenge nor deny the bright, open vocal sound (such as Gigli and Lauri-Volpis voices possessed) of any singer who has managed to accomplish the gathered voice with all the tones of his complete range. Well, I can happily report that during the last three years of our collaboration, Sndor had achieved his wish to become more of a pure tenor like the great Gigli and Bjerling, as opposed to being a bari-tenor. It spared him the ill fate of total vocal decline. That was the unfortunate outcome for all the above un-named famous bari-tenors of his generation. All of their voices had radically declined and thickened in their middle and bottom ranges, until they became too dysfunctional to sing. Their owners were forced to prematurely retire from the operatic stages of the world. Most of the important vocal critics of that time noticed the above mentioned improvement in Sndors voice. And they mentioned it in their positive reviews of his later singing. Near the end of our collaboration as teacher and student, Sndor Knya was invited to perform a series Television broadcasts of operas for summer festivals in Budapest, Hungary, which he happily agreed to do. I dont quite remember which opera was to be the first. I believe it was Verdis Aida (1974). Then the following two summers involved two popular operas which required a strong, yet lyric operatic voice, and Sndor agreed to sing both of them. After those summer festival performances, Sndor was offered the opportunity to sing Verdis Otello, in Basil Switzerland. Sndor and I discussed the matter together. Sndor said to me, Im sure, maestro, you have reservations about me accepting the Otello performance, but since Ive arrived at the end of my career, what better way to end it than to have a success with Otello. I believe, with your help, I can sing it lyrically and still do the role dramatic justice. I smiled at him, Sndor, my dear friend, after all these years of working with you, Im sure you now know as much about singing at I do, even more. Therefore, Ill accept your decision, whatever it will be. He smiled. We worked on Otello for six months, and it went spectacularly. Perhaps one day soon, those television broadcasts of Sndors performances in the Basil Switzerland Otello will show up on You Tube, and bear witness to Sndors greatness. But heres a most interesting side-story that emerged from that Basil, Switzerland performance of Verdis Otello. After the first performance (I believe Sndor was scheduled to sing three performance of Otello, spaced out over a three week period), an unexpected visitor came to his dressing room to congratulate him on his performance. That visitor was the great French/Italian soprano Regine Crespin. I know what she told Sndor during her visit. He related it all to me at his first voice lesson, when he returned to New York after his last performance of Otello in Basil, Switzerland. Our conversation when something like this:

Sndor informed me, Maestro, as I told you on the phone, all three of my Otello performances were warmly received by the Swiss audience, and also by the Swiss critics. Now I want to tell you about a most delight incident that happened, after the first nights Otello performance. To my surprise and delight, Regine Respin came to my dressing room after the performance. She looked at me quizzically and said, Sndor, your voicewhy, its so fresh, youthful and beautiful sounding! How on earth have you managed to preserve it. After all, weve sung so many operas together, and when I started out to the theater tonight, I must admit, I believed I was going to witness your vocal demise, in such a difficult role as Otello. But to my shock and delight you were superb. Now, I must know how youve achieved such a miracle with you voice, while my own voice is practically in shreds. Well, Sndor explained to Regine Crespin, Ive been studying voice with this ItalianAmerican teacher, Anthony Frisell. He not only revived my somewhat fatigued voice, he also transformed it in a totally new way, and gave me a superior, Italian sound. Regine smiled, Ive scheduled a concert in New York, but Ive been considering canceling it, since my voice has not been responding well lately. But hearing how you sang so brilliantly tonight, Im considering going through with the concert. Indeed you shouldand go see Anthony. Hell completely restore your voice to its old glory, then bring it to an even higher level than before. Regine chuckled, I certainly will. After Sndor told me about his unexpected visit from Regine Crespin and their conversation, he flew to Florida, to sing a performance of Erik in the Wagners Flying Dutchman. The following Sunday, I was casually browsing through the Sunday New York Times theatrical section. I noticed an announcement to the New York opera going public that Regine Crespin was soon scheduled to give a recital at Camy Hall, on W. 57th street, situated opposite Carnegie Hall. The ad also mentioned the name of Regines manager. I copied it down on a piece of paper, and the following morning I phoned him. A woman answered the phone, presumably his secretary, and I told her who I was, and asked to speak to Regines manager. She told me to wait a moment. Then So-and-so, Regines well-known manager, came on the line. I gingerly told him that I was Sndors New York Voice teacher. I related to him the story of what occurred in Sndors dressing room, between he and Regine, the night after his first and most successful performance of Otello, in Basil Switzerland. I also added that I was an avid fan of Madame Crespins art, and would be delighted to meet with her and see what I could do to help her. I hardly expected what followed. Regines manager then screeched at meGo to hell! Then he hung up the phone. I was shocked and angry. I should have paid no attention to him, and gone to Regines concert instead, then afterwards gone back stage and introduced myself to her as Sndors voice teacher. But instead I didnt. I foolishly allowed my bruised pride to stand in the way. As a consequence,

I didnt have the privilege of working with one of the greatest of singers, Regine Crespin. And to this day, I consider my behavior and actions unforgivable, and one of the greatest artistic mistakes Ive ever made. Thinking back now on all the above, recalling how I was granted the privilege of working with this great artist, Sndor Knya, and some of the fond memories I still have of him and his charming wife, Annaliese, it makes me terribly sad about how life, and the great art of singing, have so radically changed in America, and possibly throughout the entire world. Sndor Knya and Flaviano Lab, my next student of whom I will soon be telling you, in their time where very great and highly successful artists. This was true not only artistically, but commercially, since their annual singing schedules were heavily booked with important engagements with every major, international opera company in the world. However, in my opinion, neither of them were given the high praise and recognition they deserved. Perhaps it was their own faults, since, as far a I know, neither of them had hired a publicist. Such an individual would have trumpeted their high worth and value every time and every place in the world they had opened their mouths and sent forth the golden jewels of song to their many adoring fans. Nevertheless, we do possess a wealth of their recordings still available to all of us to testify to their greatness. Ill will soon present some of them to you, in tribute to Sndor Knya. Sndor was a sincere, totally dedicated artist, and a humble, giving, gentle person who was warm, friendly and outgoing. He never fail to consider the feelings of others and their worth. He was generous to many young, aspiring singers, and helped many of them make contact with aids and impresarios. He often gave free and helpful advice to many young singers in my studio. He was highly disciplined and didnt seek special treatment for himself, nor did he go out of his way to solicit adulation. He never failed to thank me for the artistic assistance. And often, when he was out of town singing some challenging operatic role with some great opera company, he would sometimes phone me, to bring me up to date as to how things were going. Sometimes he sent me a post card. I now want to share one or two of them with you.

Here are some snapshots of Sndor Konya in my Manhattan, West 45th Street Studio, in 1972.

Here are some audio selectons of Sndor Knyas singing for you to enjoy

Or son sei mesi che mesi che il mio padre mor La Fanciulla Del West / Giacomo Puccini

Che Gelida Manina / La Boheme / G. Puccini

Firenze come un albero fiorita! / Gianni Schichi / G. Puccini

Donna non vidi mai! / Manon Lascaut / G. Puccini

Pazzo son! / Manon Lescaut / G. Puccini

Addio Fiorito Asil. / Madama Butterfly / G. Puccini

E Luceva le stelle! / Tosca / G. Puccini

Nessun Dorma / Turandot / G. Puccini

Now lets talk fondly about Flaviano Lab

Flaviano Lab as Radames in Verdis Ada Spinto Tenor and international operatic star and recording artist February 1, 1927 February 13, 1991

On the night of November 29th, 1957, the old, much adored Metropolitan Opera House, then located between West 39th and 40th Streets, was scheduled to present a performance of Verdis La Forza del Destino. The stellar cast included Zinka Milanov, Leonard Warren, Gerome Hinds, plus many other great artists, and a newcomer to the Met, making his debut that night in the leading tenor role of Don Alvaro. His name was Flaviano Lab, and he was from Piacenza, Italy. I had never heard of this Lab fellow. And frankly, I was rather disappointed that Richard Tucker, who often sang Don Alvaro when Zinka Milanov sang the role of Leonora and Leonard Warren sang the role of Don Carlo, was not singing the role of Don Alvaro that night. As a stage director, I had worked with Milanov, Tucker, and Warren a few years earlier. For me, they were the ideal trio for their respective roles in Verdis La Forza. I arrived at the old Met shortly before curtain time, found my seat in the orchestra and sat down. I was anxious for Fritz Stiedry, the nights conductor, to get the performance started. Finally, the lights dimmed down and out. The overture was played, there was much applause, the curtain open and there was one of my favorite sopranos, Zinka Milanov. Zinka was in fine voice and sang Leonoras Me pelligrini edorfano aria superbly. There was thunderous applause. Then came the sound effects offstage of pounding horse hooves, signaling that the hero of the opera, Don Alvaro, was approaching to collect his beloved Leonora to elope with her, without her fathers knowledge or permission. From that point on, until the end of the opera, the singing of practically every member of the cast was excellent. When the last curtain call ended, I felt very satisfied and I fully realized that I had heard an exceptional performance of one of my favorite Verdi operas. After I left the theater and started homeward, which was not at a far walk, I thought about Flaviano Labs exceptional tenor voice and overall performance more than satisfactory. I promised myself that when I got home Id scrutinize the performance program and see what I could learn about Signor Lab and his career. But when I reached home, I realized that Id was more tired than I had thought. I drank a glass of milk, then went directly to bed. I forgot to browse through the night program to learn what I could about this exceptional tenor, Flaviano Lab.

The next morning, I had a lot of errands to accomplish. Afterwards, I returned home, went into my studio and glanced at my daily schedule. Oh, I had forgotten that a new student was coming to audition for me, and in and earlier time slot than I usually started my daily schedule. So I had to grab a quick bite to eat and get ready to receive him. As I swallowed the last bite of a ham and cheese sandwich, my doorbell range and I hastened to answer it. By then, I had forgotten all about Flaviano Lab for the time being. But after my last lesson of the day, I remembered him and called a few friends to inquire if they knew anything about Flaviano Lab. But no one seemed to. My work week came to an end the following Saturday. I was looking forward to a quiet, restful Sunday. Then my phone rang and I answered it. Yes, who is it? I inquired. SignoMaestro re Frisella? A mans unfamiliar, resonant voice asked said. Si. Chi siete? I asked. Flaviano Lab, un tenore dal Metropolitan Opera. Scusate, per qualche minnuti. I said and asked myself is someone kidding with me? Were any of the individuals whom I had asked about Lab and raved to about his voice trying to play a joke on me? Then I said to the person on the other end of the line. Grazie I wont waste spend time relating exactly what we said to each other, but whomever was calling me, Flaviano Lab or someone else trying to play a joke on me, I decided to go along with it. But slowly I realized that whomever I was talking to, it was a genuine, native Italian. He explained to me that his sister had found a book entitled The Tenor Voice (my very first vocal Manual published) in a music store in Milano, and had given it to him. He also explained that while he spoke a bit of English, he could not read a single word of it. Adesso, comprendo I said, and listened as he further explained that his sister had read the entire book to him, several times. In that book, he continued, there are technical matters which I found very interesting, if I have correctly understood what you have written. I inquired about you when I first came to New York to make my Metropolitan debut, but no one seemed to know about you. I was there at your debut the other nightyou sang superbly! Grazie. He said.

We then made arrangement for him to come to my studio the following day, which was Sunday, my day off. He then excused himself and I heard him ask some woman for a pencil and paper. I could hear her voice clearly, and I though she sounded like Louise Sherman, a very great pianist/coach and assistant conductor at the old Met. When Lab spoke to me again I asked him, Is that Louise Sherman I hear talking in the background? He gingerly said Si! Si I know Louise very well, I said. Flaviano added, Shes preparing me for the Mets production of Lucia De Lamma,moor with Joan Sutherland. Tell Louise hello for me, and that Ill be looking forward to that production! Now, are you sure youve understood the address of my apartment building. Ma certo! Adesso, tutti va bene. Ci vedremo domani, alle tre? Si! I saidconfirmed, Domani, alle tre. After hearing Louise Shermans voice in the background, I was certain that I had been actually talking with Flaviano Lab. Mr. Lab then hung up the phone on his end. So did I, but I stood rather still for a while, wondering how and why this unexpected contact with him had come to be. Then I thought to myselfit must be fate. Im very interested in knowing where this will lead. Note: From now on I will dispense with the Italian language and use only English. I just wanted to give my readers a sense of the Italianess of the moment. At precisely three the following afternoon my doorbell rang. I spoke up firmly into the intercom, Is that you, Flaviano? Yes. A friend drove me here in his car. Both of you come upstairs. My studio is on the second floor. I opened the front door and looked down the stairwell. I could soon see Flaviano and his friend, whose name, Im sorry, I have forgotten. But not his handsome face and pleasant smile. I extended my hand to each of them and waved them warmly inside. I gestured toward a comfortable couch and they sat down. Flaviano introduced me to his friend. Then the man rose and said very politely, Im sorry but Im double parked downstairs and we dont want to get a traffic ticket.

I understand, I said, then saw him to the front door. He departed. I shut the door and returned to Flaviano. [Before we go any further, I want my readers to clearly understand that neither Sndor Knya or Flaviano Lab were in any way whatsoever helpless, desperate singers, with serious vocal problems when I first met them. They were both highly advanced and technically proficient professional singers. Mr. Knya had studied with the famous German voice teacher H. Husler, as I mentioned earlier. Mr. Labs list of past great voice teachers was mind boggling, and Ill present you with their names a little later.] Having said the above, I want my readers to know that while the beginning, early and middle phases of vocal training are frequently difficult and often discouraging, the advanced professional level offers even more mysterious and highly challenging, career threatening moments. This is due to advanced technical mysteries which few professional singers, these days, seem to know about. The singing instrument is composed of many movable muscular parts, all of which are unseen and have other, life-sustaining duties to perform while the singer is not actually singer. These singing muscles do not all develop at the same rate. It is difficult for most singers to know what to do about that. Few professional singers seem to want to talk about these problems with other singers. They are also reluctant to go to a new voice teacher for, if there own voice teacher is not available. They know too well that a single performance of an inappropriate vocal exercise will throw their singing voice off, and into a state of confusion and dysfunction which may be worse than the original vocal problem they were struggling to overcome. All over the world, there exist countless desperate singers who have reached the advanced level of professional standards and status with their singing voices, have begun their professional careers, and then suddenly have been faced with these unexpected problems that plague all professional singers. Most of these problems deal with the wide passaggio of all singers voices. In that troublesome area of their complete range, as the pitches of the middle and top ranges strengthen and correctly advance, all professional singers must know how to diminish the previous amount of participation of the chest registers muscles. All the pitches of the wide passaggio must be reassigned great amounts of the muscular controls of the head register. Most of the great singers of the past knew about these advanced principles and practices. They had been forewarned about them and given much detailed, precise information by their great, old Italian Head Voice School trained teachers. The foregoing information may help you understand my relationships with both Sndor Knya and Flaviano Lab, which were not ones of traditional teacher and pupil. They were more like two singer (yes, I could still sing very well, if youll pardon me mentioning it), sharing technical information about new and confusing muscular responses and changes of response, when actually singing, plus other helpful ideas.

Now, lets return to my first meeting with Flaviano Lab. I didnt mention earlier, but I will now, that when Mr. Lab first walked into my studio, I immediately noticed that he was carrying a copy of my now well-known Tenor Voice manual. But I did not mention seeing it to Mr. Lab. I was certain that when the moment was right, he would mention it himself. After a few warm casual exchanges had taken place between us, Flaviano went directly to the main reason for his visit. He smiled, opened his copy of the Tenor Voice, and located a page that was indicated by a bookmarker. He brought the manual over to me and pointed to a particular paragraph that was underlined in red pencil. He said to me. My sister has read this passages or your great book to me, over and over, translating it into Italian as best as she could. From what I understand, you talk about the singers imperative need to overlap the muscular controls of all the chest voices pitches with the muscular controls of the head voice, and then make the muscular controls of the head voice dominate all the pitches of the entire chest range. He paused, then asked, Would that be a correct interpretation of what you wrote? Yes, precisely. Well, I want you to know thats what all my previous teachers have said to me. And, thats how I succeeded in slowly developing my professional voice. However, during the years, since Ive made my professional debut, Ive continued to apply the same principles and exercises. But now, as my voice is growing stronger, more supple and it possess more projecting power, occasionally my complete voice, or sections of my complete range are unavailable, or no longer respond in the same way that they used to. At that point I added, and naturally that gives you cause for concern and worry. Right. And when those shut-downs and lock outs occur, I try to rest my voice completely. But I have so many contracts to fulfill, I worry greatly that one day, just before starting to sing one of my difficult roles that my voice will shut down completely at the last minute, and that Ill have to cancel. What can you advise me about all this? Well, before I give you any advice, would you please come with me over to the piano and show me the vocal exercises you have been using, and what you believe you want to now understand and accomplished with them. Yes. Id be glad to. Im sure you readers would like to know what vocal exercises Flaviano Lab used to preserve and advance the development of his extraordinary singing voice, but I cannot tell you. That is because I maintain a policy of never commenting on anything which any established, wellknown artist tells me in confidence during the course of their voice lesson. The same is true of any student, for that matter.

There is a reason for mentioning that I worked with Mr. Lab off and on for a few years on technical principles and practices. It is because those principles and practices make a further connection to the past great period of vocal training which my essay, The Great Disconnect, attempts of meticulously and comprehensively address. They refer directly back in time to when the old Italian Head Voice method of training was used by practically every major voice teacher in Europe. And, they also make a connection to many superior American voices teachers who taught singing in America after the first World War. At that point in our conversation, the door bell rang. Lab rose to his feet and looked at the front door. That must be my friend, returned to collect me. I went quickly to my intercom buttons. Ill buzz him in. Thank you, Mr. Lab said. In no time, his friend had arrived at my studio door, I opened it for him and he came inside. Lab said to him. I know youre concerned about getting a parking ticket, so I wont be long. But first, I have a few things to say to Maestro Frisella, then well be on our way. Lab removed his wallet and I said to him. No, there is no need to pay this time. All right. He said, but next time Ill pay double. He then removed a card from his wallet and handed it to me. This is the address and the telephone number of the reception desk at the Hotel Navarro, on Central Park South. I have a suit there. You can reach me there. If Im not in when you call, leave your name and phone number and Ill call you back as soon as possible. ( I believe that the NAVARRO HOTEL of those times, located at 112 Central Park South, is presently known as the RITZ CARLTON. Many other famous Italian opera singers, such as Renata Tebaldi and Franco Corelli often stayed at the old Navarro Hotel, for the duration of the Old Mets season.) A few days later Flaviano phoned me and informed me that hed been away in south America to sing the role of the Calaf in Puccinis Turandot. He said, Id like to have a lesson with you, so we can continue the discussion we started last Sunday. And, if you would like to, you could come to my hotel tomorrow evening at seven, then afterwards Ill take you out for dinner. I knew that I should give him an immediate answer, since I was learning that he was a man of immediacy, like myself. All right, I said. Ill schedule a lesson for you at six thirty, since the lesson before you ends at 6:00 pm. Then Ill take a taxi to your hotel. Fine. Ill see you tomorrow evening at 6:30. Ill instruct the receptionist to have a bellhop see you to my suite when you arrive. Thanks, I said tomorrow at 6:30 pm.

The evening of our appointment, the bellhop politely delivered me to Flavianos suite at the Navarro Hotel, on Central Park South. I pressed Flavianos door buzzer. Moments later Flaviano opened the door. He flashed me a warm smile. Welcome, come in, he said in English, to my surprise. He led me down a long narrow passage and we arrived at a large, luxurious living room. To the left was situated a large V-shaped bar where a group of swarthy, mustached men, wearing dark business suits were seated on high bar-stools. They looked at each other, me, and then Flaviano, then at each other again. I surmised they were expecting an older maestro. Flaviano said proudly, These are some of my American-Italian friends. Then he announced to them, Questo a maestro Frisella. Once they heard my Italian name, they seemed to lean back on their high bar-stools and relax. I too felt somewhat more relaxed than earlier, when I entered the room and first saw them. I had got the impression, from their firm stares at me, that I was interrupting a corporate board meeting. To the right of the bar, there was a was a rather large, low platform, raised from the floor about a half foot in height. A beautiful baby grand piano and piano stool rested in its center. And on either side of it, two large, rather comfortable looking, thickly upholstered chairs. Flaviano gently clapped his hand and said, Its lesson time. The group of men, perhaps there were five of them in all, mumbled to themselves, rose to their feet, and quietly shuffled out of the room through a nearby door. I assumed it led to the rear of the suite, to the bedrooms, bathroom, kitchen and whatever other luxuries such a large, posh, expensive suite like this one was surely equipped with. After they had left and closed the door behind them, Flaviano waved me to one of the comfortable looking chairs. Then he went to the piano, picked my Tenor Voice vocal manual from off the piano top, and then sat in the other chair facing me. Would you like something to drink? He asked. No. I said politely. And I felt a bit ill at ease. I was accustomed to working with anyone who came to me for my expertise, on a completely one by one basis. Perhaps I was still too aware of that group of men so near by in the other room. And I could see that Flaviano was aware of how I felt. I can see that you were surprised, finding all those friends of mine here. Yes, I must admit that I was, I said softly but not accusatively.

It wont happen again. He smiled. He flipped through my vocal manual, The Tenor Voice, then launched into some questions about certain things which his sister had read to him, which he wanted me to explain. Precisely after an hour had passed by, the door that led to the back of the suite opened and those five, swarthy mustached Italian men, in their dark business suits returned to the main part of the living room. They resumed their former places on those high bar-stools that surrounded the bar. I rose to my feet and Flaviano understood that I wanted to leave. I said to him softly. Listen, about your promise of take me to dinner. Could we make it another time? I dont wont to take you away from your friends. Sure, he said. Then he chuckled, You should know that, astrologically, I was born under the sign of Aquarius. A friend of mine, back in Piacenza, is an amateur astrologer. She likes to describe Aquarians as the herd type. Ha! Ha! He chuckled. And I have to admit that shes right. I feel best when there are lots of people around me. But I think youre the opposite type. Therefore, Im going to make some plans for our next meeting which Im sure youll like. And I promise you well be all alone. I simply smiled. Flaviano escorted me to the front door and extended his hand. I shook it warmly, then left. Flavianos plans turned out to be these. He wanted me to join him backstage at the old Met, in his dressing room, on those nights when he was actually performing. I agreed. And there would be other times when he would want to come to my studio, after hed been rehearsing one of his roles at the old Met, which was within easy walking distance of my studio on West 45th Street. The male stars dressing room at the old Met was a large, irregularly shaped, and oddly furnished room, with a large couch and some chairs, here and there. It also had a large bathroom, placed in an odd section of the room, plus the standard make up table and mirror, next to it. The supporting male members of the casts dressing rooms were nearby; as you exited from the stars dressing room and turned sharply left, and faced West 39th Street. They were much smaller than the stars dressing room and set back a few feet, facing 39th Streett. Anselmo Colzani, a paisano of Flavianos, was frequently the Baritone who sang many performances of various operas with Flaviano. Colzani had a wonderful voice and an impressive stage presence. Often, when he was not obliged to be on stage singing, he would pass by Flavianos dressing room, the door of which was almost always left slightly open. Colzani would look in at Flaviano and me, at the piano, engrossed in an intense discussion, shake his head, then saunter away and return to his own dressing room. After Flaviano had finished singing a particular scene on stage, he would return to his dressing room and I would be enthusiastically waiting there for him. After he had refreshed himself, he would often drink a glass or two of tepid water, then look at me quizzically, How did that last scene go?

I would calmy give him my professional opinions. Hed listen silently and thoroughly to them for a while, then say I believe youre right about that particular phrase. Ill try it that way, next time. When Flaviano first sang the difficult role of Radames in Verdis Ada at the old Met, he was, like so many great tenors whod sung the role of Radames before him, concerned about the difficulties and hurdles of his first act aria, Celeste Ada. Celeste Ada has tested, and sometimes broken, many great tenorseven the great Jean de Reszke. De Reszke claimed that the aria came too soon in the opera, before he could properly warm up his voice. So, he removed the aria from the first act and transferred it towards the end of the opera, just before the tomb scene. To give you a clearer idea of what Flaviano and I would often wrangle with, concerning some of the challenging phrases of Celeste Ada, sometimes Id advise Flaviano to apply the portamento in the phraseCeleste Ada, forma divinawhen he was obliged to ascend from the C-natural to the F-natural above it. Then at other times Id advised him not to apply the portamento. Then, towards the very end of the aria, when Radames sings the phrase with so many low Fnatural pitchesil tuo bel cielo, vorrei ridarti, le dolce brezze del partria sol we would have to decide whether Flaviano should use a portament to acend to the G-flat above, for the next phrase, which isun regal serto sul crin posarti! Applying the portamento could possibly weight dow the voice, in some instances. But applying the portamento, at ther times, could be helpful if the singer decides his Top Range lacks brilliance and thrust, for the moment! In all cases, making appropriate decisions always allowed Flaviano to sing a stunning, superior tone. And especially so for that high B-flat for the ergerti un trono, vicino al sol, phrase, towards the end of Celeste Ada! A lot of the above considerations and subsequent decisions which we made together would perhaps be considered by most present-day singers, to be vowel modifications. However, the phrase vowel modifications would be greatly limited in truly describing what we were actually trying for. More precisely, what Flaviano and I were deciding upon then trying for, was the various, and more advantageous ways in which he could adjust the presently sung vowel of a particular vocal phrase (operating at the moment in the upper posterior area of his throat), in order for him to obtain the greatest amount of free-flowing breath energy for the tone. Most present-day singers and voice teachers rarely understand that vowel modifications are primarily made to gain access to the appropriate amount of free-flowing breath energy, for the presently sung pitch! They dont seem to understand that only the force of the breath can appropriately adjust the various possible alignments of the highly movable pitches of the wide passaggio, while singing a vocal phrase that starts within its borders, then suddenly departs from them, to accomplish a distant high note. I wish you all could have seen us both together, at our work. Perhaps then, you would have understood why baritone Anselmo Colzani would often wear a puzzled look on his face on those

occasions when he passed by Flavianos open dressing-room door and saw the two of us at the piano, like mad scientists, discussing some critical vocal point, all of which puzzled the good baritone so. But then, Colzani wasnt a spinto tenor, like Flaviano, who, more than singers of all the other vocal categories, males and females, must, with every new performance, confront and overcome more technical vocal challenges than all of them, combined. During our technique discussions, Flaviano was always enthusiastically keyed-up and jovial, like a happy child at play. And, believe me so was I! The particular operas which Flaviano and I worked on at the Old Met, were Tosca, Trovatore, Ada, Ballo in Maschera, La Traviata, and La Bohme. Whenever Flaviano would be obliged to be on stage singing, he would first escort me to a door just a short distance outside his dressing room which led out and onto a platform overlooking the old Mets broad stage below and watch the evenings performance. I could also enjoy a long, horizontal view of the stage below. I could also look beyond the stage, to the opposite side of the theater, at a lower door through which the leading female singers of the nights opera would make their entrances, be they Birgit Nilsson, Leontyne Price, Gabriella Tucci, Milanov, Leonie Rysanek, or Victtoria de los Angeles. You have no idea how much I wished that I could be on that other side of the stage, to say a word or two to those glorious Sopranos, some of whom I had once worked with as a stage director. My work with Flaviano, either backstage at the Old Met, or at my West 45th Street studio, was highly irregular and spasmodic. This was so because, as an outstanding star, spinto tenor of that era, he was in great demand internationally. He would do three performance of a certain opera at the old Met, then be gone from Manhattan for two or three weeks. He was off in some other exotic city, to sing some demanding tenor role, in one the leading international opera houses of the world. He seldom missed a performance. To me, Flaviano seemed immune to nervousness, never worried or concerned like many other great singers with whom Id worked. Whenever he left town to perform at some other major opera house, he would advise me of the day of his return. Many times he would return on the very same evening of an important performance which he was scheduled to sing at the Met. My instructions were to meet him at his dressing room at the old Met, as per usual. On the day of his expected return, I would often wonder whether or not he had managed to return to Manhattan, in time for the nights performance, considering the high un-predictable nature of airline flights. I would look at my telephone resting next to my piano, and silently ask myself, Should I phone Flaviano at his hotel, to make sure that he has returned? But then, I would always decide not to. He was a gentleman, a serious artist, an outstanding singer, and loved people in general.

Christmas 1965 he, gave me a wonderful Christmas present. It was the same picture of himself, as Radames in Verdis Ada, which I have placed at the beginning of this section, honoring him. He had already signed the photograph and placed it inside a brown envelope, long before the evening he presented to me. With smiling eyes he watched me open that envelope, and I smiled at him, at my first sight of his Christmas gift. He couldnt have chosen a better gift for me, nor a more confidence inspiring one. Flaviano had inscribed his Radames photo to me on a vertical angle, rather than the traditional horizontal one. I had to turn the photo sideways to read it. In utter disbelief, I read his inscription:

A Antonio Frisella Grande maestro E Carissimo Amico

I looked at Flaviano admiringly and told him: But Flaviano, I dont merit such a compliment. Its an exaggeration. He merely smiled, Oh, yes you do! And, youre still very young. Just consider how your skills will expand during the following years. Believe me, I know a great teacher when I work with one.

Flaviano was a kind, loving, gregarious individual who loved people and loved to sing for them. And he also loved the many luxuries which his success afforded him. It was said that in his youth, before he became an international opera star, he was a muratore, an Italian word for bricklayer. But I couldnt be certain of that since we never discussed that period of his life. He studied at the Music School of La Scala and made his debut in Piacenza, Italy, his native city. News of his success there led to other engements in Italy an then to his Vienna State Opera debut, the Metropolitan, and Buenos Aries Teatro Colon. During the 1960-61 season, the young tenor made his La Scala debut. His repertoire encompassed both lyric and dramatic roles, including those of Rodolfo, Faust, Cvaradossi, Calaf in Turandot, Radames, Riccrdo in A Masked Ball, and the title role in Verdis Don Carlo.

Leaping forward in time to 1991. It wasnt until after Flavianos tragic automobile accident and death that year that I learned he had already studied singing with the following list of illustrious singing teachers:

Gina Cigna, Carmen Melis, Apollo Grandforte, And Ettore Campogallilani. ______________________________________________________

Here are some Audio selections of Flaviano Lab for you to enjoy

Io La vidi il suo sorriso! / Don Carlo, Opening Scene, / G. Verdi / Flaviano Lab

Act 1 duet from Don Carlo / G. Verdi/ Flaviano Lab and Soprano, Antonietta Stella

La Bohme/ Che gelilda Manina/ Flaviano Lab

La Bohme/Puccini/ Duet O Soave Fanciulla/ Flaviano & Gabriella Tucci

Pagliacci/ Leoncavallo/ Un tal Gioco/ Flaviano Lab

I Pagliacci/Leoncavallo/ Vesti La Giubba/ Flaviano Lab

Manon Lescaut /G. Puccini / Opening scene, with Anna MoffoThen Lab sings Donna non vidi mai!

Tu! Tu! Amore, tu! / Manon Lescaut / G. Puccini/ 2nd Act duet, Flaviano Lab and Soprano Anna Moffo