Given my mere status as a fledging tenor, I cannot tell someone NOT to read the books you recommend here. However, I think you touch on a crucial difference between training in the olden days and training nowadays: Back then, singers were apprentices. They either lived with their teacher or within close proximity, and often they pledged a significant chunk of their future income to their teachers in exchange for lessons. I also understand that lessons were held almost daily. When a student has that much time with a teacher, the teacher can more clearly describe his/her process for achieving proper vocal mechanics, and the teacher's ear can guide the student's ear in understanding what sorts of sounds are most desirable. But nowadays, students (especially outside conservatory) take what, one lesson a week? That simply isn't comparable. My main issue with the books you describe is that they do not describe a SYSTEM by which a student can learn proper technique. I do not think the authors of the three books even attempted to describe a system; they more described what the final result should be. Yes, in the end, one should be able to sing full voice in front of a candle and not have the candle flicker, and one should feel nothing in one's throat, and high notes should be as supple as middle notes. Those are all results, but the authors do not lay out a system for how to achieve those results. If I were to recommend other books, I'd recommend these: (1) The Naked Voice by S. Smith, (2) Head Voice and Other Problems, by D.A. Clippinger, and (3) How to Sing Like Great Singers by R. Hendrix. These books at least attempt to provide a student with a method of achieving vocal technique. As great a read as Hines' 40-interview book is, I suspect most singers-in-training could read it cover to cover and come away without a clear idea about how to change their upcoming practice session to be more efficient. Of course, in the end, I think it's impossible to learn proper singing from a book, and as you point out, the entire process is a years-long one. I just know that, personally, I felt frustrated after reading so many of the classic books like the ones you suggest. Sure, they're not harmful to read, but I would begin reading them hoping to figure out a clearer process for how to sing better, and I almost always finished reading them thinking to myself that I'd just read a lot of descriptions about how singing should feel, but almost no descriptions about how to actually achieve those feelings. Could just be me, though. I presume at least some readers have found the classic books more useful than I have. Anyway, thanks for the video, and will you still put out a video about falsetto? I know that one universal theme in books both old and new is that falsetto is a solid approach for beginning to sing high notes with much less effort. Thanks again.
Goodness! Sweeping statements and whinging! Which country and in which city are you referring to in your opening paragraph? We know that castrati were trained in the conservatori in Napoli (and other cities) and yes they had a contract to study for a number of years (the exact number of years varied) . If you think that in the good old days, singers got more training that is available now, then yes, the teenage years were often spent studying not just vocalisation, but also musical theory as well as musical instruments (often in the same room as several others doing their own thing). BUT careers for singers (of all sexes) often started earlier. In addition, they also had to do manual work to earn their keep, because why pay for a servant if you have an apprentice to chop wood and scrub floors. These days there are things that are considered irrelevant which in the past were considered essential, such as: Working on breath control - take a leaf out of what free divers do, to increase their breath control and lung capacity. Singing in front of a mirror. Singers practiced in front of a mirror to regulate their facial expressions as it was expected that they should be able to sing without screwing up their faces. But that was a secondary point to the fact that they were also to observe the position of the larynx and practice until they could sing throughout their range without it moving around. Singing quietly. The amount of air pushed through the vocal chords gives volume so practice singing quietly as well as loudly - If you think that's not relevant then I just need to point you to Monserrat Caballe. MOST MOST MOST importantly. to sing on OPEN vowel sounds and NOT on tone. The whole thing about singing is that there will never ever be a manual that says, 'if you do this then you'll sound wonderful'. It's just not possible. Let's use an analogy. Two ballet dancers do the same training from an early age. One is naturally more flexible and has to work on strength. The other is stronger but has to work on flexibility. Each day, both dancers will find that outside influences are affecting their bodies. Tiredness, food intake, water intake, health. IT'S THE SAME FOR SINGERS. So go back and look at Garcia, Lamperti and Marchesi, they really knew what they were talking about.
I was taught by Blanche Marchesi's student. (she was Mathilda's daughter). I have Blanche's book "The Singer's Catechism and Creed". I also have the Jenny Lind Books. Love your channel...you are awesome and just what the world of singing needs now.
This brand of wonderful (super cool! 😎) nerdery in reading technique books by the old bel canto masters is SO up my alley! :D They sound like fascinating reads!
Since I have only been reading while surfing on the internet, it shall be a drastic change to starting holding an actual physical book. Would you have any links to suggest from online vendors?
"7 years dedicated to practicing of vocalises"...No need to go back to Caffarelli, R Peters was taken out of school at 13, studied for 7 years and was ready for a MET debut at 20 after singing Die Holle Rache 4 or 5 times as an auditorio for Bing.... Or Varnay, who made her Met debut at 23 singing WAGNER...and already knew 10 or 12 operas...The mechanics of singing SHOULD work 100 percent before u grace a stage
Given my mere status as a fledging tenor, I cannot tell someone NOT to read the books you recommend here. However, I think you touch on a crucial difference between training in the olden days and training nowadays: Back then, singers were apprentices. They either lived with their teacher or within close proximity, and often they pledged a significant chunk of their future income to their teachers in exchange for lessons. I also understand that lessons were held almost daily. When a student has that much time with a teacher, the teacher can more clearly describe his/her process for achieving proper vocal mechanics, and the teacher's ear can guide the student's ear in understanding what sorts of sounds are most desirable.
But nowadays, students (especially outside conservatory) take what, one lesson a week? That simply isn't comparable. My main issue with the books you describe is that they do not describe a SYSTEM by which a student can learn proper technique. I do not think the authors of the three books even attempted to describe a system; they more described what the final result should be. Yes, in the end, one should be able to sing full voice in front of a candle and not have the candle flicker, and one should feel nothing in one's throat, and high notes should be as supple as middle notes. Those are all results, but the authors do not lay out a system for how to achieve those results.
If I were to recommend other books, I'd recommend these: (1) The Naked Voice by S. Smith, (2) Head Voice and Other Problems, by D.A. Clippinger, and (3) How to Sing Like Great Singers by R. Hendrix. These books at least attempt to provide a student with a method of achieving vocal technique. As great a read as Hines' 40-interview book is, I suspect most singers-in-training could read it cover to cover and come away without a clear idea about how to change their upcoming practice session to be more efficient. Of course, in the end, I think it's impossible to learn proper singing from a book, and as you point out, the entire process is a years-long one.
I just know that, personally, I felt frustrated after reading so many of the classic books like the ones you suggest. Sure, they're not harmful to read, but I would begin reading them hoping to figure out a clearer process for how to sing better, and I almost always finished reading them thinking to myself that I'd just read a lot of descriptions about how singing should feel, but almost no descriptions about how to actually achieve those feelings. Could just be me, though. I presume at least some readers have found the classic books more useful than I have.
Anyway, thanks for the video, and will you still put out a video about falsetto? I know that one universal theme in books both old and new is that falsetto is a solid approach for beginning to sing high notes with much less effort.
Thanks again.
Goodness! Sweeping statements and whinging! Which country and in which city are you referring to in your opening paragraph? We know that castrati were trained in the conservatori in Napoli (and other cities) and yes they had a contract to study for a number of years (the exact number of years varied) . If you think that in the good old days, singers got more training that is available now, then yes, the teenage years were often spent studying not just vocalisation, but also musical theory as well as musical instruments (often in the same room as several others doing their own thing). BUT careers for singers (of all sexes) often started earlier. In addition, they also had to do manual work to earn their keep, because why pay for a servant if you have an apprentice to chop wood and scrub floors.
These days there are things that are considered irrelevant which in the past were considered essential, such as: Working on breath control - take a leaf out of what free divers do, to increase their breath control and lung capacity.
Singing in front of a mirror. Singers practiced in front of a mirror to regulate their facial expressions as it was expected that they should be able to sing without screwing up their faces. But that was a secondary point to the fact that they were also to observe the position of the larynx and practice until they could sing throughout their range without it moving around.
Singing quietly. The amount of air pushed through the vocal chords gives volume so practice singing quietly as well as loudly - If you think that's not relevant then I just need to point you to Monserrat Caballe.
MOST MOST MOST importantly. to sing on OPEN vowel sounds and NOT on tone.
The whole thing about singing is that there will never ever be a manual that says, 'if you do this then you'll sound wonderful'. It's just not possible. Let's use an analogy. Two ballet dancers do the same training from an early age. One is naturally more flexible and has to work on strength. The other is stronger but has to work on flexibility. Each day, both dancers will find that outside influences are affecting their bodies. Tiredness, food intake, water intake, health. IT'S THE SAME FOR SINGERS.
So go back and look at Garcia, Lamperti and Marchesi, they really knew what they were talking about.
Thank you! That’s interesting and just what I was looking for!👍🏻👏🏻
I was taught by Blanche Marchesi's student. (she was Mathilda's daughter). I have Blanche's book "The Singer's Catechism and Creed". I also have the Jenny Lind Books. Love your channel...you are awesome and just what the world of singing needs now.
When words and tone spring from the lips guided by will and imagination free of any physical impairments, you are a great Artist
This brand of wonderful (super cool! 😎) nerdery in reading technique books by the old bel canto masters is SO up my alley! :D They sound like fascinating reads!
Since I have only been reading while surfing on the internet, it shall be a drastic change to starting holding an actual physical book. Would you have any links to suggest from online vendors?
"7 years dedicated to practicing of vocalises"...No need to go back to Caffarelli, R Peters was taken out of school at 13, studied for 7 years and was ready for a MET debut at 20 after singing Die Holle Rache 4 or 5 times as an auditorio for Bing.... Or Varnay, who made her Met debut at 23 singing WAGNER...and already knew 10 or 12 operas...The mechanics of singing SHOULD work 100 percent before u grace a stage