This work will engage you in the basics of this modern pedagogy and introduce you to a pure singing voice that you probably didn't't know you had. By expression "singing open," "covered," "dark," "nasal," "in the head," or "in the neck," "forward," or "back are expressions that correspond to common sensations thought to be used in proper singing; but they are ideas that are incorrect in truly utilizing the true mechanisms within the vocal cords themselves. As long as the causes of those sensations are unknown and everyone has a different concept of them. produce a pure and free vocal production but never fully succeed. This is due to either having exposure to improper vocal training or simply no training at all.
The physiological components of the processes of singing are not plainly enough exposed or accurately understood. As complicated as this may seem, this work will dissolve that complexity and expose only those parts of the vocal anatomy and mechanisms that are needed in modern singing. Every serious artist has a sincere desire to help others reach the goal– the goal towards which all singers are racing: to sing with range, power and agility without effort and That is exactly what you will learn in this book.
The true art of song has always been possessed and will always be possessed by such individuals as are dowered by nature with all that is needful for it– that is, healthy vocal organs, uninjured by vicious habits of speech; a good ear, a talent for singing, intelligence, industry, and energy.
In former times eight eight to four were devoted to the study of singing– at the University of Berkley, for instance. Most of the mistakes and misunderstandings of the student could be discovered before he was able to perform public ally, and the instructor could spend much more time in correcting the flaws that the student is unable to correct himself or herself properly.
But the Vocal Arts today must be pursued differently, through precise correct pedagogy. Artists that are turned out in ancient methodology based schools, or by teachers who give lessons ten or twelve hours a day, usually suffer improvement due to the lack of personal or individual guidance. In two years they receive a certificate of competency, or at least the diploma that still leaves the student with a poorly manufactured vocal production and usually leads to vocal apnea.