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THE BARITONE VOICE (English Edition) par [Anthony Frisell]
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Longueur : 150 pages Word Wise: Activé Composition améliorée: Activé
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Description du produit

Présentation de l'éditeur

This manual is designed for training the beginning and advanced singing male voices. It explains the mechanisms of he singing instrument that control range, pronunciation of pure vowels, and the full range of dynamics.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 1837 KB
  • Nombre de pages de l'édition imprimée : 150 pages
  • Editeur : Branden Books; Édition : 2nd (23 avril 2010)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B003JBI0FO
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Commentaires client les plus utiles sur (beta) (Peut contenir des commentaires issus du programme Early Reviewer Rewards) 3.8 étoiles sur 5 6 commentaires
1 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 unorthodox 13 décembre 2010
Par Barry Tone - Publié sur
Format: Relié Achat vérifié
This little booklet by Mr Frisell is opposing mainstream vocal pedagogy in almost every facet.
I am well versed in this section of vocal writings, so I can tell.
But what a delight to finally find someone who writes not for the voice as it is assumed it already works, but for the development proposition of those who wish to acquire what they have not yet mastered.
After several weeks of struggling with this method (not to be advised to beginners or others on their own), I find that his ideas hold true.
99 % of vocal methods tread in the unfounded footsteps of assumptive and generalized vocal mumbo-jumbo.
Most of them fall under the believers of one of the churches called: fear of falsetto, or push your way up.
Not this one: strengthening the muscles that cause the higher region of the voice to function well, does not weaken or make wobbly the other register commonly called chest.
Finally someone explains the function and rate of breath-flow in relation to the other players in the vocal game: registration and resonance.
In short: this is a dangerous book. It may upset and unhinge the many local churches of self-satisfied going nowhere vocal coaches and pedagogues.
It may also be a dangerous method for those who are less than very careful and observant and sensitive and astute.
Those I would recommend to see and take lessons from an experienced vocal maestro, who knows how to sing in a superior, not mediocre way.
0 internautes sur 1 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Very limited book, in my opinion 19 octobre 2014
Par gerardo - Publié sur
Format: Format Kindle Achat vérifié
Well i liked the book if i just focus on the main idea, but the author kept refering to all the other methods in a negative way (for him everything that wasnt his method seemed dangerous), instead of letting the reader the freedom to keep what works from each method, including his. Also, he really wrote a big book to just say we need to strengten head voice/upper register, and that we accomplish this via soft descendent sirens, messa di voce, vowel modifications for the high range (useless idea for soft singing), he focuses in just keep applying more breath force instead of just balanced cord closure, which im sure it will not work for 90% of the people reading the book (probably this will lead to 2 extremes: having a pressed, constricted voice -really wrong- resisting this air, or breaking into a super airy falsetto which dries the vocal cords).
He does teach squillo/twang/witch voice, which is good, but i already new that so..., the thing is in fact i already knew descending sirens, messa di voce, vowels, breath support, and twang.
His method is pretty limited in my opinion, and i think the ONLY thing i learned (confirmed, really, cause i already was doing this) was to work my voice giving more priority to descending sirens and messa di voce to train pianissimo/thinning out of the cords.
ALSO!, for him a baritone has to be AMAZING, and very rare, if he accomplishes to belt A4 (A above middle C), and i think he has to check tom jones (younger or even now that he is an old man), japanese singer hyde, and american singer mike patton (different types of baritones), before stating this. Sure it will be difficult, but why to state it is impossible if we have proof of the contrary? also, check wagnerian singer lauritz melchior if you like opera, he is a 'helden tenor', which is another word for a high baritone that succesfully trained tenor, very different from just a dramatic tenor like placido domingo. Regards! :)
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Very helpful 28 mai 2014
Par Adam Rose - Publié sur
Format: Broché
I may have too much caffeine in my system to do a good review right now. Guess that was unnecessary to state. And so was that. Okay now I'll begin.

This is a highly technical manual that goes into great depth of how the singing voice functions. As we learn, it is far different than the speaking voice and the five Italian vowels are explained to each have a specific function, and are very different than English Vowels. Frisell explains well how the voice needs to be restructured from the top of the voice downwards and that this process cannot be rushed, and requires a long period of dedication and the right exercises. He explains many of the pitfalls and the shortcomings of many of the current teachings and what goes into becoming a great operatic singer. He clearly understands his subject with great depth and authority and it was impressive and greatly enlightening for me to read this book after having bought many voice building systems with little or no results, despite the great hubris of the teachers I had.

Frisell makes very clear that the vocal instrument must be built or constructed or restructured, and due to many years of bad habits, it takes years to rebuild it correctly. He explains that men have a tendency to overcompensate with the chest voice, and women opera singers tend to overuse the head voice. He gives empirical evidence from his listening at operas how American Opera singers have been poorly trained and lack the brilliance of the great Italians. Very interesting for me to read, but some of this may be overly technical for someone with a mild interest in singing and opera.

The reason I give this book four instead of give starts is that it is littered with typos. On page 96 occurs my favorite typo which had me laughing out loud, what should have been written 'shifts rapidly' was mispelled. You figure that one out. Other typos made it hard to understand the material in some places.

To sum up, this is a very technical book which probably would only appeal to someone who has some singing experience and great interest in the subject. It will be too much for someone with a casual interest. If you have been wanting to sing a long time and are seeking answers to some of the problems you are facing, this so far is the best book to give you answers for what must occur physiologically to sing the way you want to. It is directed at operatic singing, but should be helpful to anyone who wants to build a smooth voice from top to bottom.

Holy mackerel that was strong coffee I had this morning! Gonna need to take some tranquilizers or sweat it out of my system!
5.0 étoiles sur 5 It worked for me 1 janvier 2011
Par Ed Flaspoehler - Publié sur
Format: Broché
I read Anthony Frisell's book Tenor Voice: A Manual for Training the Voice, and even though I am a baritone, I followed his recommendations, and it worked for me. Took about two years, and some scary moments along the way, as the musculature in my voice redeveloped, but I can sing now!

I also looked at some online excerpts from The Baritone Voice by the same author, and realized the essential information is the same in both books.

There is also a very informative review of Mr. Frisell's The Soprano Voice on Amazon that you should read if you are interested in any of these books. Soprano Voice
6 internautes sur 8 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Alas, it could have been a great book! 21 janvier 2010
Par Bassocantor - Publié sur
Format: Broché
This book could really be great--I really enjoy the passion that the author has for the subject. All it needs is one thing--a good editor. Mr.Frisell is very passionate about the subject of restoring head voice training, and has lots of good ideas. The problem is, the book reads like a collection of articles pasted together--better than the author's internet blogs, but not nearly as professional as one would hope. Each individual sections reads okay, but as a whole, the book simply does not blend together well. For example, different terms are used for the same concept, depending on what section you read.

The various terms the author uses simply need to be defined--either when first used, or perhaps in an appendix. This is critical, because terms such as "head voice," "falsetto," etc. are not used in the same meaning by different authors. As written, the reader gets to figure out what the author really means. Since the concept of "head voice" is central to the entire book, it needs to be defined with great care. Terms such as "throat socket" need similar explanation.

An editor would also fix the numerous errors in formatting, spelling, and English usage.

Sadly, this book is simply not in the same league as scholarly works by authors such as Richard Miller. Miller's book on the baritone voice is much better written, with a great deal of scholarly support, definitions, bibliography, and other references. Another good choice is Bel Canto Principles and Practices by Cornelius L. Reid.

I hope the author gets a good editor and revises this book. A lot of really good ideas--just not presented very clearly.
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