Chest Voice
Wikipedia is a great place to pick up on the current consensus that’s clanging about in the minds of the intellectual class. In the case of Chest Voice, Wikipedia does a lot of tiptoeing about and word mincing while rewriting history. The article you find on Wikipedia asserts that a stroboscope was used to discover and understand the “Chest Voice”. Really?! I didn’t think Garcia had one of those. If you are new to this blog, please have a look at “Royal Registers”.
Garcia seemed to have a lot of fun playing a shell game with the words “Chest Voice” and “Chest Register”. The shell game divided “Clear Timber” from “Chest Voice”. He divided “Dark Timber” from “Falsetto”. Garcia also divided “Chest Register” into two parts:
(Click the above quote to go to the book)
Notwithstanding the confusion that seemed to always infect discussions of “Chest Voice/Register” there always seemed to be an understanding that it was a necessary component of a singers’ vocal structure. If you read “What’s the Buzz?” you may correctly conclude that I believe that the majority of today’s voice teachers consider “Chest Voice” passé or even dangerous. More recent evidence came to me through a friend who announced that at least one mad hatter teaching voice to a bunch of young people had been reported saying out loud without joking: “I don’t believe in Chest Voice.” I bet this professional pedagogical cracked pot believes in the buzz. I received a note from a young man who read my previous blog. I quote him here:
Let me confirm to you that this buzzing technique is truly rampant in academia, and my voice teacher at university is a huge advocate of it. I have only found progress in my own development through the use of chest voice, and being trained to effectively close the glottis. Alas, I only discovered these things when I sought guidance outside of academia. I hope that many people reading your blog realize what a travesty it is that modern voice teachers are in a real sense taking the masculinity out of singing. Thanks again, and I look forward to your next post!
Let me start my promotion campaign with the announcement of my slogan:
Chest Voice in the Chest Register Forever!
Garcia says that “Chest Voice” is the standard “Voice” for male singers to use in all registers at the beginning of vocal study. The use of other vocal effects is reserved for advanced study. That means that boys starting to study voice need to avoid the buzz. You know…. When a teacher tells you to do the buzz, RUN out the door of the studio and send him/her a “Thank You” note enclosing his/her lesson fee in the envelope with that “nice” note.
A girl’s “Chest Voice” gets Garcia’s attention as a project of discovery. He tells us that “Chest Voice” is often difficult for girls to discover, and he gives us his advice about how to guide the female toward making that discovery. He makes no suggestion that one could just forget about the “Chest Voice”.
Garcia advises his reader that the quest for vocal talent may be difficult, and offers his advice on what we need to take on the safari. He tells us that one should accumulate enough experience that we develop vocal judgment. I like to say that one must acquire discernment.
Garcia tells us to use our “experienced judgment” to look for “germs” in the perspective student’s voice, and I have often found the “Chest Voice” in the “Chest Register” the “germiest” part of the voice of a young person. This infection is exactly what Garcia is telling us to look for: The various color components that make up the individual character of the vocal instrument. When “Chest Voice” functions correctly it speaks the truth about the color of the sound that the voice will have all the way to the top notes that the voice is capable of phonating. It speaks to me of worth. It tells me if the voice is worth the time investment to teach the student or not. Sometimes the “Chest Voice” will just not talk to me, but these occasions are rare. The Master Classes for which I’ve been fortunate to receive invitation have shown me some interesting anomalies in the world of singing, and this is one of them. It is a tragedy to find a singer who cannot produce “Chest Voice” in the “Chest Register”. BE CAREFUL: If you buzz enough you too can discover freedom from the “Chest Voice”.
It can be a comfort to know that we humans are reliable. My “Buzz” blog and my present diatribe are about something that has been with us for a long time. We are clever, but basically unchanged, at least since we started writing things down that we now call history. Garcia starts chapter VI of his big book with the following:
As we have said, the chest register is generally denied or rejected by teachers, not that one could not draw from its application an immense advantage, nor that the suppression of the range which it embraces would not deprive the singer of the most beautiful dramatic effects or the most favorable contrasts, but because one can approach the study of this register only with the help of profound knowledge, under the threat of ruining the student’s voice, and because the blending of this register with that of the falsetto can be secured only by a long and ably directed labor. It has therefore been judged simpler and more natural to free oneself from the difficulty of studying it.
A Complete Treatise on the Art of Singing – Part 1Page 50
When I first read the above quote from Garcia many years ago, I was convinced that we modern types were better educated than Garcia’s contemporaries. The singing World that was giving me work, back then, had a whole lot of Chest Voice flowing from the basements (Chest Register) of most of my colleagues’ voices. At least it was true of the singers with whom I liked to work. I know I was right about my singer friends, but maybe I was wrong about the world in which we lived and worked. I am a tenor after all. Ignorance is a given for us boys with high notes. Back in those days of discovery (read: Ignorance alleviation.) I remember that I often made the remark that students become great singers despite voice teachers. It was an idle remark not only because it was so universal, but also because I didn’t have any evidence to support it. Did I remember to tell you that I’m a tenor? These days I think of myself as a crusader in a fight that has been with us a long time. Tenors can be happy people and the saying: “Ignorance is BLISS!” can have some relevancy here. I was not pleased to have my blissful comfort disturbed when, 30 years after denigrating Garcia’s competition, I heard my first “Buzz” dependent teacher attack a student’s Chest Voice.
My education is no more complete today than it was when I first consumed Garcia’s book. At the time, I loved his Treatise as a wonderful bit of history. Since then it has grown in stature in my estimation with every bit of data I pick up along the path of my life. I am truly in awe of this great teacher. The quote above is not just Garcia reporting contemporary attitudes. After my “Buzz” discovery I call it prophetic. I guess I shouldn’t be surprised. I’m not the only vocal practitioner that calls Garcia’s book the “Bible of Singing”.
Read MoreWhat’s the Buzz?
When I was running around the World being a tenor, I learned many interesting things. One thing I had to wait to find out until I quit letting the airlines drag me around, is that the human ability to imitate the Kazoo has become a pedagogical teaching tool.
My latest blog “Ears” was about the lack of faith teachers have in the standard student’s ability to use their ears. One of the most tragic examples of the “don’t listen to yourself” school showed up very recently. A young man contacted me through the “Please Write” page on this website and asked me for advice. He responded to my request for recordings of his voice with some songs and a lesson with his current teacher.
One of my female students used to send me recordings of her voice lessons from the school where she went to further her education. In her recordings, I discovered the Kazoo teaching technique. The student is instructed to make a pitched sound with the vocal chords while buzzing the lips of the mouth. That I had reservations about the efficacy of this instruction is a howling understatement, but when the student came back from that school, I discovered that she could sing higher into her head voice before an hysterical clenching of the vocal chords would eventually shut down her sound. I explained to her that the trick of the buzz had helped her to sing a little higher. My fear that she could lose her ability to sing in Chest Voice was happily unwarranted and so I was a bit mollified. I wasn’t in love with the buzz, but “No harm no foul.”
As I found time to listen to the recordings from the young tenor who contacted me, I finally finished all the songs and started to audition the lesson he sent me. Another school, another teacher, another student, another buzz. Almost a continent away from the school where my female student was being told to do scales while buzzing her lips, a male student sends me a recording of a teacher instructing him to buzz his lips too. So what? Using the “Chest Voice” while Buzzing the lips is impossible. The quantity of airflow required to make the lips of the mouth buzz cannot get past “Complete Glottal Closure”. The function at the larynx will have to be a very weak “Falsetto” or “Head” voice so that enough air gets past the vocal chords for making those lips buzz. Now a soprano or a mezzo soprano may find buzzing the lips to be a good way to stop unintentional “Belting” or relaxing tightness in the upper register, but for a boy this Buzziness can be a real problem.
I wrote back to this young man asking:
“Can you sing in Chest Voice/Complete Glottal Closure?”
“If you can, please let me hear it.”
I’m still waiting for an answer from him.
This falsetto singing where chest voice is appropriate is not unique to this particular student. I was puzzled some time ago by the same kind of singing in a set of You Tube videos. The links for these videos had come from a friend who wanted me to hear a new “Rossini Voice” on the rise in the business. The singer I heard in those videos was better organized than the vocal student I am still hoping to hear from, but his manner of phonation was the same. No chest voice to be heard anywhere.
A few tenors I encountered in the old days used this falsetto affectation from the upper middle part of their voices all the way up to the highest notes they would sing. There was even a bass baritone that found it useful. But these guys would sing in chest voice in the lower portion of their voices. In the world of singing I used to live in, chest voice was still going strong.
With that Kazoo teaching technique buzzing in my ears, I now realize that Chest Voice is under attack. With this blog I sound the alarm.
It is one thing to lament the lack of Chest Voice in a soprano. She can still sing a lot of music with success. The tenor lacking Chest Voice is another matter altogether. In my understanding of the Art and Craft of singing he is actually missing his voice. Chest Voice IS the tenor voice, the baritone voice and the bass voice. Now, let’s apply the Kazoo method to a student and suggest that the resulting feeling in the throat is just the best ever and should be kept universally operative. Let’s also say that the singer should pay no attention to the sound that results from keeping that feeling going even while not buzzing those lips. If the student follows our advice, we will have picked the pocket of that student, and the Chest Voice will be only a distant memory. If this happens to a male student, a foul will most certainly occur.
In my world of operative ears the above reality would just be another “Say what!!!!?” weird effort to invent some “new” method. In this new world invented for students that measures feelings as good and listening impossible, “The Buzz” seems to be Chest Voice poison.
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Ears
These little numbers are the first arbiters of everything aural. What they hear is what you’ve got if you listen to yourself.
I want to let everyone know that the size of brain you may be carrying around has nothing to do with those ears doing the work they should do. I have worked with some really mentally challenged individuals while I was still traveling from Opera House to Opera House. Each of these mental midgets had no problem singing gloriously. They were also able to adjust the sound of their voices according to what they heard. I guess this success of the mentally deficient might be one reason why the Vocal Universe is so full of denigration of these little sensory organs called the ears. However, I am baffled by “teachers” telling students to distrust their ears. It makes me want to cry.
Garcia is quoted by his last student as advising that students should listen to their voices. The word ear is missing from this quote, but my question is this: How big a brain do you need to understand that Garcia’s advice is about the use of the ears?
The ears are not the exclusive organs of vibration perception because they cannot pick up a lot of sensations that the nerves in our skin and muscles easily detect. These other organs can give us information that adds depth to the data that the ears perceive. A look at the technology designed to deliver vibrations that the ears miss can give you a general idea of what I’m talking about. Garcia wants us to pay attention to the ears and not the sensations we feel elsewhere. This includes the internal feelings of vibrations that may or may not get our attention as we sing. The information we get from our ears is primary. The information we get directly from the structure of the throat is maybe #4 or #5, the vibratory information we get from the surrounding structures of our chest #7 or #8. What we feel in our gluteus maximus has no number on my list. So let’s stay focused on the important parts of the human anatomy that participate in producing our vocal result.
The ears themselves are incapable of judgment. That’s why the brain was created, and why Garcia tells us to use it.
The reason we go to a teacher in the first place is to have the teacher’s ears hear our voices so that the teacher can use his/her brain to communicate to us how to improve our product. The sad state of affairs that I lament in “Factory Made” is that the pedagogues, intent on convincing students to voluntarily pretend to be deaf, are having success. To make a voice student pretend that the only ears in the studio belong to the teacher is to make the student take a lesson in which the student is a passive participant. I can understand why a weary Factory Worker might want to keep the assembly line running smoothly.
A student telling a teacher about the student’s own opinion vis-à-vis the quality of his or her singing can be really annoying not to mention how it can slow things down. My problem with this desire for efficiency is a result of my value system. The student on that assembly line is more important to me than the teacher. The student is more important than the entire Factory.
I believe that all teachers’ ears need to be treated with cynicism and verified by the voice student’s own ears and judgment. These little numbers come in matched pairs and are not accessories. They are an integral part of the gift that every successful artist enjoys and are as necessary as the larynx. The student cannot exercise his or her responsibility to take care of the instrument that God gave him/her without using those ears and they are the first and most important part of the singer’s defenses.
Interpretation is also impossible without the participation of the ears. What Garcia advises the artist to do in order to bring life to his/her performance also includes the use of the ears and the brain. This brings to mind two quotes that caught my notice when I read a recent pedagogical publication.
On page 2 Madam Sell writes:
“Hoole suggests that interpretation as a subject cannot be taught.”
She then includes the following quote that she paraphrases later in her text on page 155:
“but it can be cultivated in all but a small minority. Anyone whose desire is to learn a musical instrument must, by the fact that they are interested, suggest at least some basic interpretational senses on which to build.”
Ivor Hoole, “Once more with feeling”, MUSIC TEACHER, September, 12-15, 1995. P. 12
On page 153 we find:
“In the final analysis interpretation cannot be taught.”
James C. McKinney, The Diagnosis and Correction of Vocal Faults, Nashville: Genevox Music Group 1994, p. 29
The fatigued Factory Worker/Teacher might take solace from the above advice. I do not know madam Sell’s situation, but can imagine her manning a station on the Factory Floor at the assembly line passing rather quickly under the sign: “For Singers Only”. Maybe the singer should hang his brain on the same hook intended for his ears at the Factory door. Can you imagine what fun Lucy and Ethel would have had if those chocolates were given the power to talk.
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There’s no place like home.
Landing on up country ground again and having a week with my wife, furry kids, flowers and lawn has given my memories from Rome, Romania and Paris a very special patina.
My little Suzy
Teddy
The week of rest was absolutely necessary. Old people know what I’m talking about. Old tenors are no exception. I’m beginning to feel my batteries holding a charge, and I’m up to bringing my mind back to the word processor to get it to spit out some thoughts. They may be a little Jet Lag limp today, but I expect things to get better soon.
I am so encouraged about the state of the human voice. I wish I could say the same about the human mind. Rome and Sibiu were revelations in my exploration of those human attributes. I know my job is the voice, and will stick to that part of the anatomy as much as possible. Every voice I found on my latest quest was worth developing. Each hopeful singer had every material gift necessary to the craft of singing. However, they all sang with the standard technical deficiencies. Many of the singers are seeking work, but the world is not handing them stacks of contracts every time they audition. Is that something new in the world? Shouldn’t everyone expect rejection? I don’t think so. Rejection should be a puzzle to young people. It was to me. (I’m a tenor, right?) No, the committed singer needs to be puzzled by unsuccessful auditions. First, in the realm called the mind, which is “not my job” today, the singer has to get over the disappointment of a fruitless audition on Monday in order to have a positive attitude when planning for what’s next on his calendar, another AUDITION with time and place attached. Getting through these trials is a mind thing that must be addressed, but not by me at least not today. What I want to address is why the singers I met on this trip get the cold shoulder in auditions. They have been sold a bunch of lies.
I’m happy to say that the above accusation: “Liar!!! Liar! Pants on fire!!” is only mostly true. These students, at least, got some truth. They were all told at some point: “You have a voice! You should take voice lessons and make singing the focus of your life!” The lie came when they heard: “Come take lessons with me and I will make you a star.” Or, on the other hand, they may have heard the derivative: “You need to enroll in my University to get ready for a life in music.” The first lie is easy to dispel. No one can make that claim! The full measure of what it takes to attract enough public attention to be able to claim star status is beyond any teacher’s ability to control. Anyone who would claim star maker abilities needs to be avoided, but what are young people to do when they can’t know these things because of their youth? The University track is the same problem wrapped in a prettier package that I already covered in “Factory Made”. If you think I need to say more on that or any other issue, “Please Write”.
The Rome participants cracked my shell of low expectations and hit me with a set of challenges that might be considered individual nightmares by some teachers. They were dream world stuff all right, but they didn’t give me cold sweats. They filled me with energy, caused my days to start with a burst of ideas rushing to my mind directly from Garcia’s writings and made the close of the day an unexpected arrival. It was my first Master Class in which I could honestly raise my glass of mineral water in a toast to the improvements most of these young people made.
Two of these success stories will continue to be written when they come to Plattsburgh next month. These two from Rome who want more truth about how to sing were among the closest to being “Ready for Prime Time”. That’s why Garcia’s success with them was so obvious. The excitement these young people experienced and expressed was fully matched by my own.
My first days in Sibiu set me up for almost the same experience I had in Rome. Great instruments with as many signs of unfortunate instruction as were presented in Rome. Garcia’s teachings worked again and I had a wonderful time watching as these singers absorbed his advice. One of them even took notes… Surprise! It was a tenor. There were some differences between the Rome experience and my Sibiu work. Whereas in Rome those closest to “Prime Time” moved farthest, in Sibiu those farthest from “Prime Time” made the biggest moves. In Sibiu I had no arguments from any of the singers. In Rome there were a few who just couldn’t believe me, and, one by one ceased to attend the classes. Sibiu and Rome were the best master classes I’ve ever had the pleasure to do, and my satisfaction at being able to confirm Garcia’s teachings with the help of these singers is beyond my ability to quantify. I credit the singers who came trusting me to present Garcia’s wisdom to them.
My excitement with these master class experiences has renewed my faith that God is still making wonderful vocal instruments. I joyfully listened to and worked with many more than I expected to find. They are out there. If these young singers want to learn the best way to use their voices, they need the teachings of Garcia. I come home with a renewed commitment to waving his banner.
I left Europe with an invitation to help create a special kind of Master Class in Montisi.
Morning in Montisi
That project is still in the idea phase, but I have high hopes that my friends there will be successful. My week of home rest had not completed before I received an invitation to return to teach another Master Class in Rome. I hope I can go back this coming February/March.
Accademia Musicale Praeneste, Roma
Going out to glorious vocal discoveries in Europe and coming back to our secret corner of beauty gives me an unreal feeling that all I did was switch dreams. 
I feel like Dorothy took my hand and clicked her ruby slipper heels together, and there I was confronting gorgeous voices dressed in unfortunate costumes. I reached into my bag of Garcia magic, handed out some new clothes and great things happened. Then Dorothy came back and grabbed my hand, did her clicks and here I am again surrounded by Technicolor Treasures. I know the two realities are not dreams, because I had the “Hurricane” of travel that separated Home from Garcia Wonderland. It is also truly real to me because a few of the people in possession of those voices in Europe still talk to me, and here I am, home again, using Garcia’s teachings to help my students who had to wait for Dorothy to bring me back to the wonders of Technicolor.
Do you have a voice and feel like joining me next year in Italy to explore the teachings of Garcia? “Please Write”
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Vacation Over!
Vacation over, I’m cooling my heals at Rome airport. Looking back at Montisi, that little hill town in the photo, reminds me how much I needed to clear my head and charge my batteries. Now I’m ready to do more in Sibiu.
Nice to have my computer so I can seek confirmation from Garcia’s text. His text and my proximity to my latest teaching activity get the old brain cells working.
Garcia keeps cheering me on as I read and remember the Rome Master class sessions. I spent gobs of time pushing singers to express the emotions and character traits of the person the singer was to impersonate. I was fortunate to have students with the technical preparation sufficient to the task and ready to accept the advice. The results were striking. For bright shining moments there were artists in front of me, not just technically proficient vocalists delivering the notes written by the composer and distinctly pronouncing the words of the librettist so that we could understand them. I saw and heard those distinctly proficient artists rip the dead words and music out of the printed score and put their own lives into them. According to my perception, the singers disappeared and the Opera Characters emerged.
In Part 2 on pages 138 -175, Garcia reminded me of how much more he wants me to teach these young people. The tenor is willing but time is short. Those 38 pages are so full I can’t begin to write about them in this blog, but I can stuff everything into Garcia’s Toolbox.
The new drawer is labeled: Expression.
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The Easier “Messa di Voce”
I guess I should get back to the challenge with which I ended Royal Registers. I call the “Messa Di Voce” (M.D.V) the Final Frontier of color management in classical singing. Renata made me explore it. I would love to have recordings of my lessons in which I was told to start the crescendo portion of the exercise by walking away from her piano and at the moment I knew I was at the halfway point to turn around and walk back to her piano in order to put my hands on the cover of her much loved little grand at the softest part of the decrescendo. Having such a recording would make me happy for many reasons, one of which is that I haven’t found a good “You Tube” of M.D.V that I can stick into this blog.
Renata had many ways to get what she wanted from me, and I wish I had a recording of them all because I sure could use them today. What I remember of the inventive challenges that got me motivated, I use today on my students. “Messa Di Voce” is among my Renata memories. Her M.D.V. excercise taught me a lot, and I didn’t appreciate the greater portion until years after Red (Renata) died. I thought it was all about the length of time I could stretch out that infernally slow crescendo followed by the equally torturous diminuendo. I took the challenge and believed the game was, if she would have let me, to paint a marker on her living room floor at the point of my U-turn that first day of doing this crazy thing. Every lesson following, I would have placed a new marker at the more distant point from her piano that I was supposed to achieve with the result of practice. I was encouraged with almost every attempt, and proud to say that my lines of demarcation first reached the limits of her living room, then the dining room and finally penetrated deep into kitchen territory. I was disappointed that I never got to open the door of her kitchen and walk out onto her driveway or enter her garage or just walk off her premises to visit the Corner Store to purchase a Mars Bar while blaring at the cashier at full vocal throttle. It was a nice dream but we all have limits.
I used to think that Renata’s walking “Messa di Voce” thing had given me the best breath control I could have possibly developed, period. But with this exercise, Renata had, in fact, packed my pockets FULL of tools. Many years later I stuck labels on them. I got the stickers from Garcia.
“The need to master all the colors of the voice has caused us to improvise the following exercise; we consider it one of the most useful which our experience has suggested to us. On a single note and with a single breath, pass gradually through all the timbres from the most clear to the most sombre, and then with another breath pass from the sombre timbre to the clear timbre.”
I plant my flag deeply in the process of this Garcia invention. I call this the halfway point on the way to discovering the secrets of vowel adjustment and the use of colors. Is it an easy process that we can just as easily forget about? After all it isn’t “Messa Di Voce”. It does sound like a different game all together doesn’t it? Let me tell you a story.
Quite a few years ago I found myself in a city where a famous singer was giving a Master Class. I will not give you a name or any other definitive information because that famous singer is still walking the face of the Earth. Anyway, one day I passed by the room in which these master classes were being held and found a class in session. I quietly entered and sat in an empty seat in the last row. No one but the famous singer knew I had come in. After a while, that famous singer decided to ask the members of the class if there were any questions that those present might want to ask of the other “mature” singer that seemed to be hiding at the back of the classroom. I was invited to come to the front and stand before the class to field any questions that the class might have. Almost at once, Garcia became the subject of discussion. I wish I had a tape of those proceedings, but I did not have my recorder with me. Tenors are as tenors do. Things got really interesting when clear and dark timber became the subject of discussion, and I spoke of the exercise Garcia documented in the above quote. The result was inevitable. I had to demonstrate that exercise. This is the point at which the question/answer session screeched to a halt. My colleague said to me: “I’ve had a career of “##” years and never knew anything about the things you are discussing.” My impolitic response was: “Having a career does not require this knowledge.” I think the class was dismissed at this point. At any rate, I learned to avoid similar circumstances, but from this experience I have the answer to the question I asked in the previous paragraph: No, the above exercise is not easy, and yes, it can be dispensed with, but at the cost of knowledge undiscovered.
The student should need no more encouragement to try Garcia’s exercise than Garcia’s own words. It is in Royal Registers that I quote him challenging us to master “Messa Di Voce” and we will get halfway there by learning to do his exercise invention I quote in the earlier portion of this blog.
Is setting out to “master all the colors of the voice” and study “Messa Di Voce” an idle project? If you say yes, but you are vulnerable to persuasion, keep reading. I can’t guarantee that you will change your mind, but even tenors have been known to do it, and yes, some tenors do have minds.
As compared to “Messa Di Voce” there are some missing components to the above exercise which make it easier to do than M.D.V. The easiest to point out is volume. “Messa di Voce” requires a meticulously controlled crescendo and diminuendo. The above Garcia invention makes no reference to a change of volume. What he doesn’t tell us to change, we don’t have to change and we actually must not change. One vowel, one note/pitch, one volume, one breath and one other unchanging vocal attribute. What is it?
Hint:
It is the one that Garcia came to better understand with his little mirrors.
It is “Glottal Closure”. Garcia, with his un-“Messa Di Voce” color exercise trains our ears to hear all the possible and even the impossibly ridiculous color differences we can make with our instruments. Some might say that it is a precursor to “Extended Vocal Technique”. I know I’ll have to write about this three word modernity at some point, and here I offer an introduction. Garcia and I would say his little exercise is intended to extend the color range of each vowel beyond the limits of the taste and the traditions as well as the requirements of the written music of the period of Garcia’s life. Today we have new stuff written by composers who chafe at any restriction handed down by tradition on their creative talent, but Garcia even covers the requirements of these upstarts. A singer just has to follow Garcia’s teachings and the “Modern Composer” will get whatever he wants. Wagner wanted Garcia to teach the singers that were debuting his music. Why should we think that Garcia would be insufficient for training the singers who will put themselves at the service of composers living with us today?
He titled his book “A Complete Treatise on the Art of Singing”. He edited his book to include his discoveries that postdate his original edition. That made his title retain its’ validity. It is a “Complete Treatise” of what we need to know. Garcia put it all together in 1855 and lived for another half Century dispensing the wisdom of his first half Century of life on Earth. I don’t plan to have that long to promote this wisdom, but will do so for as long as I can. I have yet to discover anything that modern research has to add to Garcia’s wisdom that improves or extends our understanding or the function of the human voice.
Even though I still don’t have any examples of M.D.V I am comfortable with, I do have an interesting link on You Tube “Messa di voce: Horne, Pavarotti, Sutherland, Bonynge” that a friend, Jon Chatlos, forwarded to me. What a quartet!!! Richard Bonynge interviewing a trio of the best of the best, and what happens? Richard says:
“Give us a beautiful messa di voce. In other words, a messa di voce starts piano an’ a big crescendo and a big decrescendo.” “And so many singers can do the first half but they can’t do the second half”
Fun isn’t it? No one actually does a full M.D.V but they do a Half M.D.V. My wife tells me that I should embed one of the You Tube videos of me. That’s because she loves me. There are some videos of my work on You Tube that I really like, but I don’t want to make this blog about me. However I am always willing to make my Debbie happy. For you tenors out there, that’s because I love her.
I did propose a Reverse “Messa Di Voce” to decorate the end of my aria in “L’Occasione Fa Il Ladro” when first I sang it in Lausanne, Switzerland. I was blessed to have my favorite conductor ever, Bruno Campanella, there to guide us through the Opera. At our first rehearsal I asked him if I could insert the M.D.V. “embellishment” at the end of the aria. He said: “Let me see it in context of the staging.” So I demonstrated how it would work in Ponnelle’s staging and I was happy to receive a blessing from Bruno after he recovered from his bout of laughter.
I loved working with that man smiling at you in the photo!! The rest is history. Some of that history has been posted to You Tube.
The following video is for Debbie, and serves as an example of the sort of thing Garcia is talking about with “Messa Di Voce”.
Just in case you missed it, the following bit is a full reverse “Messa Di Voce” with a unidirectional Renata walk which I added to the aria at the very end of all the vocal runs and jumps.
I promise I will not put myself up as example again for a long time. Thanks for being patient with me for this bit of self reference.
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