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The Head Voice and Other Problems Practical Talks on Singing (English Edition)
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The Head Voice and Other Problems Practical Talks on Singing (English Edition) [Format Kindle]

D. A. (David Alva) Clippinger

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Descriptions du produit

Présentation de l'éditeur

This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 183 KB
  • Nombre de pages de l'édition imprimée : 124 pages
  • Utilisation simultanée de l'appareil : Illimité
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B004UJ8LOO
  • Synthèse vocale : Activée
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1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Inspiring! Especially Useful for Basses and Baritones 28 octobre 2013
Par Bassocantor - Publié sur
I first found out about this little gem on a Wikipedia article. Do not be deceived by the short length of this book. It is jammed with some very important points. Not much fluff. This author speaks with authority, based on his background instructing students.

Singing instruction, writes Clippinger, is two things: 1) KNOW WHAT YOU WANT, and 2) HAVE THE CONDITIONS RIGHT.

Point one means development of the tonal concept. "Voice production is a mental concept."

While point one is critical, I think Clippinger really excels on point two--setting the right conditions. The right "conditions" mean ridding your voice of even the slightest amount of tension, or resistance, as he usually puts it:

"The singer must get rid of resistance. When he has succeeded in doing that, the problem of head voice is solved."

This is best accomplished by starting very easy, at pianissimo, near the starting stage of the head voice (A below middle C for lower male voices.) It is critical that the student not try to advance to full voice until they have mastered head voice at an easy level.

I think basses and baritones will benefit most. The author points out that teaching a low-voice singer to sing head voice properly is the #1 most difficult task in singing instruction.

"The development of the upper, or head voice, is the most difficult, as well as the most important part of the training of the singing voice."

Wow! Clippinger explains that the head voice is near the top range of lower-voices, making the task more difficulty. "The training of the male head voice requires more care and clearer judgment than anything else in voice training."

He further emphasizes that it will take a LONG time for these singers to achieve a head voice, without the nagging resistance that wrecks the tone. This long work is worth the effort, because the head voice is "the most important part of any singer's equipment."

I am personally following Clippinger's method. It does indeed take a long time, but I am encouraged and inspired. Listen to the author:

"There is nothing in the tone world so beautiful as the male or female head voice when properly produced."

This review does not do justice to this fine book. I found this book to be exceptionally inspirational and practical. I only wish the author was alive today so I could chat with him.
5 internautes sur 7 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Great Ideas 26 septembre 2012
Par Ruth Halvani - Publié sur
Format:Format Kindle|Achat vérifié
As an Opera singer, singing teacher and author of the 'How to Choose Your Singing Teacher' [[...]] I am impressed with the way singing technique is explained in this book. Reading this book as well as how to choose your singing teacher complement each other very well. I am very glad to have found this book.
I agree on the disagreement between 2 different type of singing schools ( teachers). Those who can't see anything but technique and treat singing as something that is only physical and the other that place much more importance on the mental aspect of teaching as singing is more mental oriented that we would like to admit. I happen to have respect for both groups although in time and with tons of experience both on stage and in the studio work, I happen to prefer the teachers that know how the voice works and have fantastic sense of tone on those who just want you to be relaxed and let thing happen. They don't just happen for everyone. I agree that the teacher trains the mind rather than the voice and i am all for it.
Good book. I highly recommend it.
Ruti Halvani
0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Spiritual and informative 4 mars 2014
Par Yosi Tsitsu - Publié sur
Format:Format Kindle|Achat vérifié
A bit too much info on scientific voice production and things that do not really matter. Yet it is packed with great info that was interesting and inspiring to me, especially in light of the spiritual ideas and the mentioned thinkers I myself learn from.
Insights into head voice essence and the tight attitude about it were truly reinforcing and important to me.
0 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 worth the perseverance 5 février 2014
Par whitepine - Publié sur
Format:Format Kindle|Achat vérifié
This is an older text, and as such offers an interesting history of the study of vocal production. It also distills observational knowledge that holds true to the present. It is not an easy read, but as it is free, one can pick and choose where to focus.
0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A breath of fresh air. 25 août 2013
Par gtmacdonald - Publié sur
Format:Format Kindle|Achat vérifié
I've been trying to learn voice the wrong way the author describes for several years now, and so I'm very excited to give this a try. He advocates working at pp and then building the voice out from there in order to avoid tension and forcing; something that has plagued me for years... I'm impressed with how accurately he describes the currently confused state of vocal pedagogy even though it was written in the 1920's; some things never change. It's definitely worth a read. Reminds me of 'The Voice of the Mind' by E. Herbert-Caesari the way he talks about forming tone quality with the mind (as opposed to physical manipulation).

I was disappointed to see that the musical figures are missing from the kindle version, but you can find versions of the book online with them included. A quick google should yield several options.
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Passages les plus surlignés

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We hear the tone mentally before we sing it, and we should hear it as distinctly as if it were sung by another. &quote;
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The only way the singer can injure the vocal instrument is by forcing it. &quote;
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In studying the pure singing tone we find the following: It is smooth, steady, firm, rich, resonant, sympathetic &quote;
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