We Sang Better
We Sang Better
Vol.2 Why it Was Better
Anderson, James
Beuthen AMR S.L.
11/2012
266
Mole
Inglês
9788494047794
15 a 20 dias
362
Descrição não disponível.
THE CONTENTS OF VOLUME 2 Part II Issues Effort Pressure Force From the chest Throat and larynx Chest voice Head and headiness Forward Breathing Support Dans le masque Legato and diction Breath control Covering and closed Attack A science of voice-production? Ideals Vowel modifications Registers Playing around with registers Voix sombree Those tenor high notes Exercises Criticism Spontaneity Natural tones and carrying power Portamento Varying the volume Vibrancy Expansiveness and expression Complicated or simple? Part III Cycles Cycles Golden ages come and go Why do golden ages not last? Instrumentalists Singers can be more like instrumentalists Success in any art-form needs a basic grounding Where are we now? Part IV So are there lessons from the past we can apply now? Concentrate on ability first, then you can tackle any style Use the past for your benefit Singing is finally up to you, not anyone else The twelve differences Some recent and good advice Stick to the ideals and ignore the closed minds! Pure and beautiful sounds: bells, for instance Example of Patti 'Expansive sensibility' The present early music situation Example of Battistini Pure singing on its own A science? An art Even something more Part V Some fun things Singers in court Two raconteurs tell of their singing lessons Body parts Waiting in the Green Room Rossini sings for Addenbrooke's Hospital You don't need to copy these pictures The price of the claque at the Grand Opera A singer rehearses an orchestra Heroism in performance The trill (Vol.2 also contains) The reference, bibliography and illustration lists of Volume 1 The reference, bibliography and illustration lists of Volume 2 The main cast list A subsidiary list of characters & also of places A final note
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THE CONTENTS OF VOLUME 2 Part II Issues Effort Pressure Force From the chest Throat and larynx Chest voice Head and headiness Forward Breathing Support Dans le masque Legato and diction Breath control Covering and closed Attack A science of voice-production? Ideals Vowel modifications Registers Playing around with registers Voix sombree Those tenor high notes Exercises Criticism Spontaneity Natural tones and carrying power Portamento Varying the volume Vibrancy Expansiveness and expression Complicated or simple? Part III Cycles Cycles Golden ages come and go Why do golden ages not last? Instrumentalists Singers can be more like instrumentalists Success in any art-form needs a basic grounding Where are we now? Part IV So are there lessons from the past we can apply now? Concentrate on ability first, then you can tackle any style Use the past for your benefit Singing is finally up to you, not anyone else The twelve differences Some recent and good advice Stick to the ideals and ignore the closed minds! Pure and beautiful sounds: bells, for instance Example of Patti 'Expansive sensibility' The present early music situation Example of Battistini Pure singing on its own A science? An art Even something more Part V Some fun things Singers in court Two raconteurs tell of their singing lessons Body parts Waiting in the Green Room Rossini sings for Addenbrooke's Hospital You don't need to copy these pictures The price of the claque at the Grand Opera A singer rehearses an orchestra Heroism in performance The trill (Vol.2 also contains) The reference, bibliography and illustration lists of Volume 1 The reference, bibliography and illustration lists of Volume 2 The main cast list A subsidiary list of characters & also of places A final note
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
