How do we mess up? Let me count the ways.
When in Rome enjoy the rain…. Sorry to complain, but I had to get the weather report out of the way first. The weather has been really unusual in Italy, and with reports from home sounding similar to local conditions, I’m beginning to fear that the Earth may drown before Al Gore can realize his dream of watching the World burn up. When I discovered the alternate shelter choice, in the photograph, on the Tiber river, I was inspired to ask if I could rent space. But, then it started to rain. I began to believe that the river might just get higher than I would find comfortable.
I am on day 4 of my second Roman Master Class with more students than a tenor should be asked to count. I am having so much fun watching surprise spread across singers’ faces who improve their results by following Garcia’s advice and then find that the singing process gets easier on the throat. The messed up way most of these students go about singing is often so easy to unravel that it feels like child’s play. That’s good for a tenor like me who would love to have a life full of play. The old days of stage-play have now changed to teach-play and I cherish the moments when a student breaks out in a big smile because of the joy felt at overcoming difficulties.
So where is the count? “We” includes me, so I guess I’ll start with my mess making.
I am still learning…… No, that is not included in the “mess up” list! I messed up when I came back to Italy…… HOLD ON!! That’s not a “mess up” either. It has to do with the way I organized my return to Italy. There is a very good adage that goes something like this: Every Army is prepared to fight the last war they fought. They almost never keep up with the times and anticipate the attack that will come tomorrow. History is full of proof of the value of this little saying. Let’s just say: I’m a tenor, and am no more intelligent than any army around. Coming back to Italy with the same basic program as last year plus added activity was not a big mistake, but I now recognize that I should have been much more involved in helping my friends in Montisi organize the Florence/Montisi portion of my work. I was happy to meet some really nice people and discover some promising talent, but the structural difficulties presented by the school in Florence proved more than I could anticipate. I’m happy to say my time was not wasted, but I know I should have been able to help more young people than was possible under the circumstances. Unlike an unprepared army that gets destroyed, a tenor usually gets, at least, a second chance to get it right. Next time, it will be different.
OK! I should talk about at least one mess not made by the writer of this blog. My most frequent complaint this trip has been singer’s ignorance of and misuse of Vocal Function because I find it to be incredibly common in the singers who came to me for help.
The use of breathy Falsetto as a stand in for, or reinforcement for Dark Timber is the strongest and #1 impediment to good singing I have seen this year. Indiscriminant, chaotic vacillation between the Falsetto and Chest Voice that the men showed me runs a close second place, with the suppression of the Head Voice in the upper register that all the ladies engage in contends strongly for that second place.
It is wonderful to find that almost every Functional Error sufferer I encountered in Florence, Montisi and Rome was vulnerable to suggestion, and came to at least some understanding of the issue with which they were confused. Most of these were able to put these vocal functional attributes to better use. When I left Barcelona back in January, I was worried about these very issues. This trip restores my hope that the use of Chest Voice and Falsetto can still be brought back to Garcia standards, even in the face of the apparently universal taste for the Dark Side of Vocal Pedagogy.
About second chances: I will be coming back to Italy to try again. The first part of the story is that on 16 September I will be in Torino to collaborate in a Master Class with:
Accademia della Voce del Piemonte
Via Piazzi n. 27
10129 TORINO
We will start on 16 September and work every day until 21 September. It marks my second opportunity to work with my friend Armando Caruso. It will be a pleasure to again be at the service of Armando and his collaborators. We all want to see the same thing. The best singing possible from every singer we meet.
The rest of the story will come later. The world of singing offers us “interesting times” these days, and I am fascinated by the future, for which, the present may be a fitting introduction. I find myself being called Don Quixote, and I know that there are apt similarities even though I refuse to put on armor and ride a horse. I also have no interest in wind energy. I do have interest in helping young singers discover the best qualities in the giftwrapped talent they received at birth, and it can be an uphill battle in these “interesting times”. My experience in Florence and Montisi testified to this fact.
If you have the time, are awake and want to hear a retired American tenor mangle the Italian language on an Italian Radio Show listen at 13:00 Rome time. That would be, for the tenors in my readership, 7:00 am New York time, 6:00 am Chicago time, 5:00 am Denver time and 4:00 am Los Angeles time….. Wait, I guess I’m a tenor too. To what location am I inviting everyone?
La Barcacia
Click the program name, and you will be whisked directly to Rome where you will be able to laugh with us.
Sorry that the tenors in London, Tokyo and Honolulu will have to fend for themselves to discover the correct time of transmission. I didn’t forget you all…… You know……. I’m a tenor too. I got tired of compiling the list.
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Climbing Stairs
I always thought there was something more to scaling the registers than just “The Blend”. Renata was not helpful to my understanding, even if she was very helpful to my voice. She made me do a lot of running up and down the scales and boy did I have fun even though Renata was rather generous with her negative comments. She was quick to set me back on track when I wandered into the vocal weeds. I did what Renata told me to do without caring a whit about why she wanted one thing or another. 
Let’s be honest here. I was a kid who knew nothing about singing or Opera. I was just having fun, and voice lessons were party times for me. When High School days were over however, I got curious really fast about the value of all that stuff that I found fun. I was surprised that the vocal world, with which I became acquainted during my short collegiate career, had no interest at all in scale work.
I thought: “Isn’t anyone interested in the scales and arpeggios that Renata made me do?” My complaint is a far cry from the locution: “Oh dear! mayn’t I sing down the scale even once?” that Garcia Jr. is credited with saying to his father. The vocal staff at the two universities I attended had no interest in these things. It was many years later that I had an honest explanation for this modern lack of interest. It was during one of my Master Class efforts to promote Garcia technique in a major music school setting that I was given a big lesson. I was told by an insider that vocal instructors would be hard pressed to include my suggestions in their studio work with the voice students at hand. My new friend on the vocal staff of this major musical mansion told me a lot about the conditions and limitations with which every instructor lived, all of which made the study of scales and arpeggios very unattractive. Number one on the list of limitations was time. There just didn’t seem to be enough of it for such niceties.
Why, I would keep asking myself, did singing scales really matter to Garcia and so many teachers all the way back to Caccini‘s days? Maybe the old ways are irrelevant to today’s tonal idealists, but Garcia lamented the trend in the later part of his life:
At the present day the acquirement of flexibility is not in great esteem, and were it not, perhaps, for the venerable Handel, declamatory music would reign alone. This is to be regretted, for not only must the art suffer, but also the young fresh voices, to which the brilliant florid style is the most congenial; the harder and more settled organs being best suited for declamation. It would not be difficult to trace the causes of the decline of the florid style. Let it suffice, however, to mention, as one of the most important, the disapperance of the race of great singers who, besides originating this art, carried it to its highest point of excellence. The impresario influenced by the exigencies of the modern prima donna, has been constrained to offer less gifted and accomplished virtuose to the composer, who in turn has been compelled to simplify the role of the voice and to rely more and more upon orchestral effects. Thus singing is becoming as much a lost art as the manufacture of Mandarin china or the varnish used by the old masters.
“Hints On Singing” by Manuel Garcia1894 – Google Books page IV
His indictment of the world of singing of his day is not quite as severe as my criticism of today, but the problem was just as big back then as now. I lament that Garcia did not “trace” the “decline of the florid style” for us, because the world of today seems under the impression that tastes just happened to change. That “declamation” was the inevitable evolution of singing toward a modern ideal.
That argument we will have to pick at in other articles, but for today I want to get down to why scales and leaps are so good for you, what they should sound like, and why I believe they were imposed on the singer in the first place.
Doing scales as Garcia suggests is the boot camp of vocal technique. I have every confidence that Renata knew what she wanted to hear while she drove her students through the simple and the complicated note constructs she demanded we sing for her on various vowels. I never did escape my tenor limitations long enough to ask her exactly what it was she wanted to hear, but I now have a good idea from what I can remember of her lessons, from reading Garcia and the experience of finding my way through the life of a singer.
Scales are so basic to a musician’s life that they were taken for granted by everyone. Instrumentalists still have to do scales. The problem they face is obvious to everyone but, perhaps for the tenors who might be reading, I will explain it. It is one of the first difficulties a player has to resolve. Each Key Signature requires a different use of the fingers on the control surfaces of whatever instrument is being played. So scales are impossible to avoid if proficiency in every Key is desired. Back in the dawn of Vocal History even tenors did scales but I don’t think they used their fingers and from the tenor stand point, what’s a Key got to do with singing anyway? Please don’t take me seriously. Keys are important to singing, but “tenor thinking” would prioritize lots of things as more significant.
I believe that, back in the day, scale work was imposed on singers without anyone asking a single “WHY?” My faith comes from hearing musicians use comparative suggestions, and then finding that similar suggestions were written down by some very important music people as old as Quantz. Quantz suggests that the flutist imitate good singing. He also reports that the singers of his day were possessed of the presumption that they were better able to interpret music than instrumentalists. Quantz suggests that the presumed vocal advantage would be true, except for the deficiency of musicianship demonstrated by the singers with whom Quantz was acquainted.
The trumpet player that says: “There are musicians, and then there are singers.” has been around forever. It is no joke because the third shoe to drop would be; and then there are tenors….. I make light of a human weakness that confirms my faith. All the way back to the dawn of Vocal Time we can be secure in our assumption that humans were involved and have always been vulnerable to jealousy. Back when everyone in music had to admit that the vocal soloist was more valuable than the chorus member, I believe a revolution took place and it had consequences. I also believe we can “trace” the consequences back to a good picture of what actually happened.
In those early days, the voice which was dragged out of the chorus to become a soloist had to be placed in some sort of training. Everyone in the band had done scales. Do you think the singer was going to get a pass? No, the singer was going to have to do scales. There are good reasons to do scales, but not to memorize fingerings. The singer was going to have to mimic the instrument to prove proficiency in vocal training. We all know about vocal difficulties like “breaks” and “registers”, which scale work really makes obvious when the singer moves his/her voice up and down the C major scale bumping over the register breaks in both directions. But this would not seem to be the basis for the jealousy implicit in “There are musicians, and then there are singers.” That jealousy rests on something Garcia tells us…. If an instrument can do something, so can the human voice within the limits of its range. The dedicated singer can do scales just as well as any clarinet, violin, oboe, trumpet or French horn. In some cases the human can do better. In some cases the ability of the voice is so good that the singer can do those scales as well as the musician after just a few lessons. After months of practice room time, the violinist might be a little miffed to hear a new soprano at his school imitating his C major scales in the adjacent practice room. This would be enough to upset his ego, but that poor musician may have his instructor tell him the advice Quantz has for the flutist. Listen to that new soprano and try to follow the shading of emotion she displays with her voice as she sings her songs. In as much as she can make her voice follow the C major scale making a credible impersonation of the violinist next door, she can also change the color of her voice in almost any way she wants. The violinist does have some color latitude with his instrumental sound, but comparing the coloring abilities of the violin to the human voice is like comparing a switch blade
to the best Swiss army knife. 
When he admits he is overmatched, the musician is left to carp about the imprecision of the soprano’s intonation, lack of rhythm, missed entrances, overlong phrase conclusions all of which add up to that most general ancient/modern complaint; singers are just not musicians.
So what am I trying to say? In short…. I have been long winded today, haven’t I?… Sing scales like you know how they should be sung from listening to your friends from the orchestra play their scales. The violin sounds like the violin from the open G string to the highest note the player can make without leaving the finger board on the E string. The player needs to work hard to make a sound his parents will tolerate. You need to sound like you from the lowest note you can sing to the highest, letting everyone hear that you know just as much about singing scales as the best violin player, and always retain the individual, identifiable sound that God gave you.
The correct song for you is: “ Anything you can do I can do better”. Think of Betty Hutton as the singer and Howard Keel as the violinist.
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The Blend
Finding clues to your vocal identity is only one reason to organize the Chest Register. Your Chest Register, full of comfortable Chest Voice, is the foundation upon which your voice should be built. Garcia tells us that teachers should blend the Chest Voice of the Chest Register with the Falsetto of the Middle Register when working with you girls, and offers specific exercises with which to get the job done. However, I believe his advice presents us with a secret to uncover. He does not tell us what the end product of the work involved should sound like.
This lack of descriptive text is common place to his writings. It is not Garcia’s weakness. It is the weakness of language itself. There is no way to describe vocal sounds and effects without resorting to comparisons. Garcia fought this difficulty in his original edition by naming names and assuming that the work of universally applauded singers would be sufficient sources for examples to support the points he wanted to make in his Treaties. In his later editions, a lot of these names disappear. What good would it be for Garcia to cite the way a particular singer sang a note or phrase if the singer is unknown to the reader?
One must infer the intent of Garcia when he writes of blending one register with another. I lived in a singing world that seemed to assume that one only needed to avoid the “hiccup”, “break”, “register event” etc. to achieve the blending that Garcia wrote about. Garcia tells us that the blending work he advises will cause the “register event” to disappear in an ascending scale. The voice will start in the Chest Register passing seamlessly into the Middle Register and finally arrive, without disturbance, at the Head Voice. This passage from the bottom to the top of the voice has no sonic description in any of the literature I have read. If anyone can help this tenor with text I have not seen, please send me the bibliographical reference. Unfortunately, Garcia doesn’t even try to tell us what the well-executed scale from basement to weather vane of the voice should sound like except for the idea of unity and lack of disturbance of the sound. It is an important bit of information, and I believe that specific sonic result was the goal that Garcia Sr. had when he tortured Garcia Jr. with scale work:
The monotony of the first portion of this training evidently became very wearisome in time, for Señor Garcia would afterwards recall how one day, after being made to sing an endless variety of ascending scales, his desire for a change became so great that he could not resist bursting out, “Oh dear! mayn’t I sing down the scale even once?” The training of those days was indeed a hard one, but it turned out artists who had a very wonderful command over their voices.
The problem is, and always is the meaning of “is”. Sorry for the political reference, but I just couldn’t help myself. What do the words unity and character mean? I start with what Garcia says he is NOT going to say which I quote in “Why Garcia”. Notice “outstanding differences which distinguish the voices of various individuals” in the first quote, and further on “we will not concern ourselves with the different timbres which characterize and differentiate the voices of individuals”. Character is that which makes the voice identifiable. You hear a voice and you know who the singer is, because the voice HAS outstandingly different character from all other voices. Unity is based on the same assumptions. No matter the pitch, you can still identify the singer who owns the voice producing the pitch.
OK! You have your identity (voice print) settled in the Chest Register using Chest Voice. You should get out of the vocal basement with that identity unsullied by Falsetto as you make your way through your Middle Register. That ID needs to be just as legible to the ear as you finesse your way into the Head Register/Voice. That stable, identifiable character of vocal sound throughout the extent of your voice is the unity that I believe Garcia Sr. wanted his son to learn to protect. All the great ancient singers were subjected to similar torture/training as was Garcia Jr., and I believe it was for the same objective. Do I have proof of this? No. Is it logical? To this tenor it is.
The literature I have read is only just a little helpful in support of my theory. I would be most happy to receive any references from the period of Garcia and any that predate his adult life. I am especially interested in evidence that I am wrong. I have to challenge my detractors, if I be worthy of any, with the words of my friend Randy Mickelson: “Show me the books!” I assume the world to be full of people better read than this tenor, and hope someone from among this better educated class of non-tenors would be helpful enough to invite me to say my favorite line of Gilda Radner. That line would be the last two words in her clip.
Until then, I will stand on my Internet Soap Box, wave my Garcia Forever banner, and keep shouting over the noise: Blending the registers has nothing to do with blending with your friends in the chorus.
Read MoreGypsy for Garcia
When the going gets tough the tough get going.
I never liked that motto much, but it rings in my head these days. I guess I didn’t like it because I did a lot of going in my life, but had no illusions about being a tough guy. Besides, tough was not applicable to most of the goings on through which I lived, but….. We are in tough times now. I am older now, but no tougher by any measure I can apply to myself, but I will answer the call to get going.
I’m planning to return to Italy in just under two months. My friends are working hard on a vocal education initiative based on the teaching ability of this untough tenor. Please click on the poster to the right of this blog to get an idea of the new birth in the cultural life of La Toscana. I am so happy to know tough people in the Old World who are determined to keep singing, as we used to know it, alive and are willing to get going even when the going is tough indeed.
I am sure to be hearing a lot of voices new to me while I’m back in the birth place of Opera. I will get to hear students at Santa Cecilia in Rome and the Conservatorio Statale di Musica L. Cherubini in Florence before my friends in Montisi host the next Master Class featuring a tenor, Rockwell Blake, intent on teaching the stuff I keep writing about in these blogs. These goings on are part of my crusade to see things change. I know I am not tough or important enough to effectively push back the tide of darkness that I see and hear engulfing voices everywhere, but I stick my Garcia banner in the air anyway and in an untough manner wave it furiously in the hope that I may attract enlistments to my cause.
If the going turns less tough for Maestro Campanella, I may have the pleasure of working with him in Montisi, and the singers who come to Montisi may get some real wisdom from a real Bel Canto conductor. I caught him with a telephone call at his home recovering from a fall he took in Paris. Bruno used the arm that made my life on stage so much fun when he was conducting to save his head from a big bump on the boulevard. Now, with a dysfunctional head the arm isn’t much use to a conductor, but with a damaged “bachetta” wing it sure is hard to fly in his native environment. Even with this negative event still affecting his everyday life, Maestro Campanella showed his toughness and committed to participating in my crusade in Montisi, if his schedule and recuperating arm will allow. When I saw him last year he flattered me by telling me of his dream of founding a school of Bel Canto, and now I have to work really hard to reduce my Cheshire cat grin to avoid looking as crazy as I really am about working with Bruno….. Maestro Campanella. Sorry, it is so hard to maintain formality when speaking of such friends.
Please consider meeting me in Montisi. If you have already dedicated your life to singing and are crazy enough to believe a tenor could be helpful to you, then I’m your man. I’m not tough, but I am serious. I also happen to be honest. This often gets me into trouble, but I sleep really well because of it. The life of a singer can be wonderful. The life of a singer can be hell. I hope you will come to Montisi, either to let me help you travel down that wonderful avenue, or to allow me to divert you from traveling the toll road of frustration. You get the picture. Times are tough, the going is tough, my friends and I may not be tough, but we want to help. Come let us help you.
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Garcia Secrets
Long before Manuel Garcia walked the Earth for more than a century, most of the things he wrote about and taught were already integral to the singer’s art. In the preface of his big book he wonders about the history of “the art of singing” and more specifically the teachers of earlier times and what they might have revealed had they written more about the practices they followed. I’m so glad he told us of his curiosity, because I share that thirst to know how singing technique was built. Dr. Stark’s book, “The History of Bel Canto”, guides us through some of the literature to which Garcia alludes, and I am happy to have this pool of knowledge. Garcia knew about the teachers who predated him from the musical literature available also to us, but, unlike us, he also heard of them by the aural tradition which is lost to us today. Along with this pedagogical aural tradition advantage, Garcia had opportunity to converse with individuals who heard the voices trained by those old time teachers. The talkative elders of the musical and vocal arts could have described and compared those ancient voices they had heard in their youth, with the voices with which Garcia was familiar. I envy the opportunities Garcia’s point in history offered him. We can be sure that Manuel and his father knew what made each voice they heard special, and what each of these singers was doing with his or her voice in service to the composer and the public. I feel blessed that Garcia, Jr. wrote about these things sufficiently to defend his father’s and his “school” and am fascinated by and drawn, like a moth to a flame, to his insinuation that, like prior great teachers, he did not reveal all the secrets he had uncovered. I sometimes wonder if he withheld these bits of wisdom just to inspire in others the curiosity from which he tells us he suffered.
You can find in “Factory Made” the advice Garcia gives us about discovering a voice. He doesn’t tell us where to listen or what exactly to listen for, but the question Garcia wants to answer is the one every person who dreams of making a life in the vocal arts should ask:
Is my voice worthy of the huge investment of time and money necessary to develop the voice and artistry of a “distinguished artist”? That is to say, can you hope to enjoy a career capable of returning, at least, the original investment, and, even better, return that investment in multiples sufficient to provide for the continuous support of your life well into retirement?
Garcia tells us that it is up to the teacher. His opinion might have changed if he had survived another century. These days we seem to suffer from a teaching community with intent to offer universal access to the singing art. The call seems to be: “Come one, come all, we will teach you how to sing.” This may be OK for a well-rounded liberal arts education or even an adult music appreciation program, but it is no good if you want to start training for “Brunhilda” or even “Despina”. Garcia was not interested in teaching everyone vocal technique. The students he wanted in his studio were the exceptionally gifted voice students wanting to sing Mozart or Wagner Opera, not the diletantte or musically minded medical, dental, legal, psych, math, physics, chemical or physical education students hoping to be good enough to sing in a chorus. He gave us a list of attributes he required in a singing student. All the assets on his list are useful things to carry with you into the vocal life, but the number one component a singer must have is a voice good enough to warrant the effort to learn how to sing. That asset would seem to be the hardest to recognize, and the least important to the pedagogical profession today.
How do you discover this valuable asset? Where do you look? Chest Register in Chest Voice! Even though Garcia is correct to tell us that the Chest Register/Voice is difficult for some females to developed, from my experience every singing voice that had Chest Register/Voice working revealed the “germ” that Garcia talks about. It is in the Chest Register, in Chest Voice that the full bloom of individual color, native to the instrument with which you were born, gets displayed. If you want to know your voice, look there first.
OK. Now how do you look for that blooming beauty in yourself? I suggest you record/video yourself and use your own taste to decide if you measure up. This is no joke. You are on your own in this matter. There are many more delusional divas and divos in the world than rich ones, and usually the members of the majority find listening to their own voices very uncomfortable. Don’t be one of them. Whatever a teacher tells you to do, you must evaluate the results with your own ears by listening to or viewing your lessons. Keep your teacher honest. Ultimately, most teachers are going to put the responsibility on you anyway if you fail to become a star. If you become a star, the teacher will claim credit, even if none is due the teacher. If you are not interested in becoming a star, I am no less happy to have you reading my blog and hope I can keep you interested with stories from the Warblers’ War Zone.
The singing business is a risky business. So start living with risk now and develop that Chest Register of yours even if your teacher suggests you are asking for the Earth to swallow you up. Sing things that bring you down into the lower part of your voice and expect to find more power and brightness than you might think possible. Very few stars reach the firmament with their Chest Registers disorganized. The Chest Voice in the Chest Register is the foundation of the singer’s voice, and from this foundation one can start to build a unified vocal identity that may serve the singer in you and the Opera World as well.
We will move on to the rest of the vocal structure after this foundation argument sits and rests a few days.
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Deal of the Day
Now we are talking about a good deal. One of the reasons I started to do this blog was because I believe that singers should be responsible to protect their voices. This is one of the more useful among the members of the newest tool catagories for that self-preservation project and this price for this tool seems really good to me.
Click on this text to see the deal.
Every voice student should have something like this, and this one at this price, the one you found when you clicked, is like 1000 lessons for the price of one. That is if you live in NYC. Don’t you think you should be your own instructor, critic and best -friend. This little number is made to order for keeping your voice teacher honest.
If you can afford to take voice lessons, you can afford this or something like it.
If you find a better deal, please let me know.
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