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Training Soprano Voices (Anglais) Relié – 14 septembre 2000

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Descriptions du produit

Revue de presse

Miller has produced another must-have book for professional voice libraries....Everything this reviewer expects from one of Miller's books is here: clarity, scientific support, practicality, proven exercises, relevant extracts from the literature, and, of course, strong opinions. With his books Miller is leaving a legacy of a lifetime of study and learning pursued with rigor and passion. (Choice Print)

Présentation de l'éditeur

All soprano voices have characteristics in common, but each type of soprano voice also has special features that require a particular approach in teaching. A young dramatic soprano must not be forced into a soubrette mold, nor should the soubrette soprano be assigned dramatic tasks. Training Soprano Voices offers a complete system for training each type of soprano voice based on historic vocal pedagogy coupled with modern-day research on the singing voice. Designed as a practical program for singers, teachers, and voice professionals, the book places emphasis on the special nature of the soprano voice and the proper physiological functioning for the establishment of vocal proficiency. For each category of voice, Miller supplies a detailed description, recommends appropriate literature, and provides an effective system for voice building, including techniques for breath management, vibratory response, resonance balancing, language articulation, vocal agility, sostenuto, proper vocal registration, and dynamic control. The book concludes with a daily regimen of vocal development for healthy singing and artistic performance. Dozens of technical exercises, vocalization material taken from the performance literature, and numerous anatomical illustrations are included.

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Dans ce livre

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Première phrase
ZERLINA AND BRUNHILDE, ACCORDING TO THE DESIGNATIONS GIVEN them by Mozart and Wagner, are both sopranos. Lire la première page
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Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
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Amazon.com: 6 commentaires
23 internautes sur 23 ont trouvé ce commentaire utile 
A must for students and professionals 16 décembre 2002
Par Un client - Publié sur Amazon.com
Format: Relié
I am a master's student currently preparing for an operatic stage career. If you are seriously persuing a pedagody degree and hope to teach or if you a soprano persuing a performance career, this book is an essential for your library. However, I don't recommend this book to novice singers -- the voice is a fragile instrument and a beginner can't tell what s/he sounds like (if the voice is tight, pushed, or out of tune, you won't know). It's best to begin study under a good teacher than with a book.
28 internautes sur 30 ont trouvé ce commentaire utile 
A tough read, but WORTH IT! 27 octobre 2002
Par Brittany Huber - Publié sur Amazon.com
Format: Relié
I won't kid you, I am a semi-professional singer studying classical and musical theatre voice, so I am very serious about my singing. This book is magnificently detailed and well thought out for the SERIOUS vocal student. It avoids the annoying generalities about "soprano" voices that most other voice texts fall into. However, you do need a solid understanding of vocal technique, physiological structure and the like to get everything out of this. If you're a more beginning or amateur singer, looking for something to help you with specific problems or with more fundamental technique issues, it is most likely just going to seem daunting and overly complicated for your purposes. However, for a professional or pre-professional singer, it's a wonderfully written book that will give some great insights on training and using the different types of soprano voice.
18 internautes sur 25 ont trouvé ce commentaire utile 
Needs a female collaborator 7 mai 2008
Par C. Orde - Publié sur Amazon.com
Format: Relié
For my money (and the book is not cheap) this manual lacks a certain hard-to-define element that is connected with the fact that it is written by a man, and no man can ever know exactly what it feels like to sing with a woman's voice. If you read, say, Lili Lehmann, you find an extra dimension - one that stems from her particular experience as a soprano - that is missing in Miller's rather clinical approach, which, by his own admission, deliberately shuns the use of imagery to convey sensation. He always gives excellent advice, with helpful vocalises, but only rarely manages to communicate what the singing process should feel like, as opposed to what it is supposed to achieve.

Just as I could not describe what it feels like to sing Sarastro's low notes or Tonio's high Cs as well as a bass and tenor could, so a man can only describe at a theoretical level what sensations sopranos must look for, and what difficulties they tend to encounter and why. Registers and passaggi in male and female larynges do not operate in identical ways. The sensations for females are bound to be subtly different overall (granted that they will of course vary between individuals of the same sex) and need to be described from the perspective of someone who inhabits a female body, preferably with a soprano larynx in her throat and with experience of having sung at least some of the repertoire that he discusses in the book. Miller would have produced a more useful book if he had collaborated with a reputable soprano vocal pedagogue who could have provided that extra input, and who could also have addressed certain other important aspects of the way a soprano's body functions and alters throughout her career, from her teens to her sixties, with some attention to how hormonal changes and ageing processes can affect vocal production. Miller does touch upon some of these things, but only superficially and not particularly sensitively.

It is a book that teachers will find useful but that practising sopranos may find frustrating. It is nevertheless a step in the right direction because very few reputable books on singing technique have been published, and even fewer on the soprano voice in particular.
Best Scientific Treatise For Voice Training Ever. 30 juin 2014
Par CelticWomanFanPiano - Publié sur Amazon.com
Format: Relié
This is the best manual out there for the proper training of Soprano voices in the classical/operatic genre. After years of being poorly trained by "swans swimming on the lake" teachers, I'm retraining my voice with professors who incorporate a lot of Mr. Miller's research into their teaching. He's adamantly opposed to the teaching style that is wholly dependent upon the use of imagery that is unrelated to actual technique and the science of voice. He includes a lot of exercises in this book, many of them drawn from the classical literature. And he includes lots of diagrams of the larynx and other anatomy pertaining to the voice. He is very scientific and at times it feels like one has to be a medical doctor to fully comprehend all the scientific terms, however, this is the best manual for the voice ever written. And it is saving my life vocally.
2 internautes sur 4 ont trouvé ce commentaire utile 
An essential book 8 septembre 2009
Par Teo Bronzini - Publié sur Amazon.com
Format: Relié
Despite of no one can learn how to build a voice begining with a book -whatever be its quality- , for those whom already knows the basics of - for example - italian school of singing, this great work will be an invaluable source of information to enhance their job - in this case, the always hard and diverse world of the soprano voices teaching - . In fact, Richard Miller improve us.
Of course, a lot of helpful exercises are included, but only oneself must decide when and how much to apply them.
Really, an indispensable book for the singing teacher, and even for the singer - not only the sopranos -, especially the opera singers.
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