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Head First: The Language of the Head Voice: A Concise Study of Learning to Sing in the Head Voice (Anglais) Broché – 23 février 2007

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3,9 étoiles sur 5 9 commentaires client

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Amazon.com: 3.9 étoiles sur 5 9 commentaires
5.0 étoiles sur 5 Five Stars 10 avril 2015
Par Mary Jane Blaney - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
Amazing book written by a talented and articulate man!! He is the maestro and if you wants to learn all there is to learn about this subject one can look no further than Denes Striny.
5.0 étoiles sur 5 Five Stars 16 février 2016
Par Angela Intili-Stokes - Publié sur Amazon.com
Format: Broché Achat vérifié
A must read for all serious students of voice.
3 internautes sur 4 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 111 pages of a guy you've never heard of saying he knew Brigit Nilsson, he likes head voice and also, he knew Brigit Nilsson. 22 janvier 2013
Par Alison J - Publié sur Amazon.com
Format: Broché Achat vérifié
The author comes across as egotistical and lacks any skills of persuasion or reasoning. I don't disagree with some of the things he says, but his main argument is that he and Brigit Nilsson say so. This is not a how-to book, and he honestly addresses that right away. Instead, you should expect a long winded chronicle of his interactions with Nilsson and his opinion of his own greatness which will leave you asking "who is this guy?"
4.0 étoiles sur 5 Inspiring Ideas - Hope for a Second Edition! 5 mai 2014
Par Bassocantor - Publié sur Amazon.com
Format: Format Kindle
This small book is filled with some really great ideas. The book strikes me as sort of a scrapbook, of the author's frustrating journey from voice teacher to voice teacher, and from one bad theory to another. It really is remarkable how Mr. Striny switched from tenor to bass-baritone, back to tenor. I appreciate the fact that Mr. Striny wants to share his journey with the reader--he really "bares his soul" in this book, which is no easy feat.

I think the best sections are those that deal with the struggle to get the best "texture" of the head voice. I see that these points really touched some of the readers. I confess that I was not similarly touched, but I am willing to admit that it's because I am not as far along on my singing journey as they. Very useful were the sections that discussed use of different vowels, and which ones are most appropriate to learning the head voice. Many of the sections explain how light and easy it is to sing in the true head voice. Well, that is encouraging to us low-voice singers!

Very helpful are the recommendations to study the speaking of Julia Child and Eleanor Roosevelt, so as to understand how to form the vowels. I think I will take up the author's suggestion.

I thought the weakest sections were those that described the physiology of the vocal mechanism. Compared to works by scholars such as Richard Miller or Johann Sundberg, these sections don't compare very well. I thought the author's insistence that chest voice is fundamentally a constricted way of singing not very believable, and he cites no evidence to support his assertion. For example, the author states (p18) that "Chest voice singing is constricted singing with the incorrect texture!" This is an astonishing claim--I wish the author would have cited some studies or noted experts to support that. In many places, the author claims that chest voice is just flat-out wrong technique--e.g., moving the larynx all the time (p6). This assertion surprised me, since many authors advocate for a stable, low larynx, and how one should NOT be moving the larynx as pitch changes. I have seen the studies that show that most opera singers do not move the larynx as pitch changes.

When describing the harmonics around 2800 Hz, it would have been very helpful to more fully explain how the harmonics work, and the important phenomenon of the singer's formant.

I completely understand why another reviewer was so unimpressed by the author's assertions. The many accolades from Birgit Nilsson don't seem to really add to the book. These comments are certainly heartwarming and admirable, but how do they assist the reader? I felt the same way about the various audio tracks. They tell the story, in music, of the author's journey and growth, which is interesting, but not very helpful to me. (As a side note, that was very considerate of the author to make the tracks available for listening on his web site.)

Funny illustrations. I wonder if these were drawn by the author? The drawing on p40 is perhaps the most amusing.

There are only 3 pages of exercises. This strikes me as very little. Surely, there are more than 3 pages of suggestions on how a singer can promote the head voice.

One minor formatting note: The text on the rear cover is barely readable. Too much text, font too small. Once again, a second edition could correct this nit.

Despite the above criticisms, this book definitely offers a substantial contribution to the discussion about how to use head voice. With some enhancements, this book could really become an excellent reference. I hope Mr. Striny decides to make a second edition.
3 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Striny shares the best way to sing well - and for a lifetime 29 octobre 2010
Par Robin Hendrix - Publié sur Amazon.com
Format: Broché
I'm delighted to be able to review this book, Head First, which has given me so much. Like others who have reviewed it, I appreciate the generosity of the author in sharing his discoveries. As a professional singer, I hit a wall, technically, and the easy way I had sung in the past was no longer accessible, or so I thought. Pushing, weight-lifting, expanding, and holding in the ways that the gurus were recommending were only making things worse. I ordered this book, after accidently discovering something about the quantity of air I used vs. the ease of singing pianissimos. The title "Head First" spoke to me. The very first time I read through it, I must admit, I didn't think much of it. Too simple, no meat in it, no "how to" miracles, diagrams of the larynx, etc. But something told me to pick it up again and re-read it. The second time, I was in tears with relief and gratitude. At last I could understand what parts of singing I HAD BEEN DOING RIGHT, before studying with "experts". I re-read the book several more times to be sure I understood what he was talking about, then went straight to work to find my head voice. It changed my life, and gave me such great confidence, especially since I'm not a young singer. My voice is as fresh as ever, more beautiful now, and I'm never tired after singing for hours. What joy! I only teach this method now, and it is a wonderful thing for my students - quick to learn because the results are evident right away. If you are a professional singer, and want to know how to ensure your career for a lifetime, you should read this book. But be sure you re-read it at least twice. Mr. Striny shares a lot of his own experiences, frustrations, and realisations, and each one serves as a lesson. His great friend, Birgit Nilsson, gives the forward, and her words on the subject are priceless. There are only a handful of exercises in the book, since most of the work is done best in your head, and with your ears. Happy singing!
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