The tenor voice: a personal guide to acquiring a superior singing technique / Anthony Frisell. Author. Frisell, Anthony. Edition. Expanded and updated edition. on other threads that Anthony Frisells book - The Tenor Voice, is a real For some reason you can get the PDF version from Google books. Yes, I know I am female, but I have an unusual singing voice, and was actually trained as a tenor. I bought this book, because I am familiar with Anthony Frisell.
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The Tenor Voice - Kindle edition by Anthony Frisell, Adolph Caso. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like. Tenor Voice: A Manual for Training the Voice by Anthony Frisell. A N T H O N Y FRISELL. Singing Teacher of Sandor Konya and other international opera stars. Author of. THE TENOR VOICE • THE SOPRANO VOICE • THE.
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September 25, Hiya there, bigfoot For the past year and a half approximately, after a read a post by an opera vocal coach about the cuperto exercise, I've been following Frisell's principles without knowing it. The thing is, I hate the feeling of physical strain in tender places, and for me, personally, any kind of sustained heavy-mechanism singing the "chest" voice starting from B3 upwards is strain since I'm a natural baritone.
So I thought, howzabouts I try and bring the light-mechanism lower. As I've heard people quoting Frisell and also read in different classical singing blogs - also, I have experienced it - it's psychologically tough for many people to let go of that feeling of chesty strength below C4-E4, but for me the answer was to listen to my body. I have a Coverdale kind of baritone in other words, low and my speaking voice is very strong and resonant, so at the beginning it was natural for me to revel in that when I sang.
When I started to become aware of stuff happening in my vocal instrument, I started to become aware that my vocal folds were under a lot of heat. They could take a lot of heat, because they're naturally thick and strong I guess, but I didn't like that feeling. So for a couple of months I gave up trying that below E4, pulled some chest up to D 4, but generally I tried not to go that high, so I tried not to use when I could the range B3-D 4.
By comparing the good and bad functions, and selecting those which the correct mental image indicates are preferable, the singer progresses from one state of vocal efficiency to a better one. Fixed Rules Certain fixed rules form the basis for the correct mental image approach.
Pure vowels The formation of pure vowels takes precedence over all other matters. The vowels are the most basic of vocal functions and the singer's only reliable method of checking himself against bad singing habits.
Distorted vowels blur the words of a musical piece and deny the singer communication with his listeners.
Even if the language in which he is singing is foreign to his listeners, the lack of vowel clarity soon become apparent in a monotony of tonal colors.
From the very beginning the singer must be determined not to sacrifice the purity of the vowel to attain the pitch, or tonal effect, or he will always be limited by those compromises. Each of the five vowels u, i, e, o and a, must be mastered in their purest form throughout the entire vocal range.
Until complete control is established the singer can never pass to a state of proficiency where the technique becomes second-nature. Mastery over the dynamics, range, flexibility, and shading of all tones permits artistic interpretation.
All are the results of control. Musicianship Musicianship, which is of major importance, is often neglected or passed over too lightly.
A singer must become familiar with the rudiments of music and acquire some ability to play a musical instrument, preferably the piano. Also, the nature of what is musical in vocal production should be carefully studied and cultivated.
The baritone must be particularly alert to musical theory because in ensemble singing he will be expected to harmonize with the higher voices of the tenor and the soprano. The goal of all singers should be the attainment of pure intonation, a precise sense of pitch and legato, and all patterns necessary for a musical vocal production.
A singer must understand that what is necessary for vocal improvement is change, and that this change is the result of what he technically perceives to be better.
Without change he can only expect to perpetuate his vocal faults. In the search for vocal improvement there is always varied opinion of what is right and wrong and the student can become confused.
It is always wise to pay attention to criticism, 1 The Italian pronunciation of the vowels, u oo i ee e eh and a ah is best for exercising the voice because it is pure and free from diphthongs. The Italian pronunciation should be used for all exercises in this manual.
Anthony Frisell10 consider the sources of opinions, then permit the passing of time for testing the suggested theories. Remember that correct progress is always reflected in ease of vocal production, the overcoming of difficulties, and a positive response from your listeners.
The "Science of Voice" Advocates A matter which deserves mention, even though it is opposed to the simplicity of the mental image theory, control is the growing popularity with beginners to submit their voices to individuals who claimed to be experts at the science of voice. These so-called scientists of voice directly manipulate parts of the vocal apparatus itself, in the hope of strengthening and extending the vocal range, and showing the student how to get "control of the voice".
For example, some of them attempt to control the actions of the tongue with an instrument called a "tongue depressor".