1. 1 National Association of Teachers of Singing Training the Male High Voice July 7-8, 2004 New Orleans, Louisiana

2. 2 In Memoriam William McIver 1942-2003

3. 3 Featuring Karen Peeler Professor of Voice and Vocal Pedagogy The Ohio State University

4. 4 Featuring Dale Moore Visiting Professor of Voice Indiana University

5. 5 Featuring Stephen F. Austin Associate Professor of Voice University of North Texas

6. The National Association of Teachers of Singing New Orleans, 2004 6 Training the Male High Voice Wednesday, July 7 7–8 p.m.Introduction – Stephen Austin 7–8 p.m.Introduction – Stephen Austin 8–9 p.m.Teaching session – Karen Peeler 8–9 p.m.Teaching session – Karen Peeler Thursday, July 8 9–10 a.m.Teaching session – Dale Moore 9–10 a.m.Teaching session – Dale Moore 10–11 a.m.Teaching session – Stephen Austin 10–11 a.m.Teaching session – Stephen Austin 11-12 p.m.Panel discussion 11-12 p.m.Panel discussion

7. The National Association of Teachers of Singing New Orleans, 2004 7 The ability to sing the high voice is a learned skill for most men The ability to sing the high voice is a learned skill for most men Composers expect an addition three to five notes above the secundo passaggio (D4-G4) Composers expect an addition three to five notes above the secundo passaggio (D4-G4) This is a physiological barrier between the chest voice and the falsetto in the untrained singer This is a physiological barrier between the chest voice and the falsetto in the untrained singer They must sing through and above the passaggio with considerable intensity They must sing through and above the passaggio with considerable intensity They must sing through and above the passaggio with flexibility, ease, and beauty They must sing through and above the passaggio with flexibility, ease, and beauty

8. The National Association of Teachers of Singing New Orleans, 2004 8 Some men have all the notes they need, but: Some men have all the notes they need, but: Must learn to negotiate the passaggio Must learn to negotiate the passaggio Timbre must often be addressed Timbre must often be addressed May have difficulty maintaining the tessitura May have difficulty maintaining the tessitura Most men must add notes to their range Most men must add notes to their range The native range may not be the best means of deciding voice type The native range may not be the best means of deciding voice type The native timbre may not be the best means of deciding voice type The native timbre may not be the best means of deciding voice type

9. The National Association of Teachers of Singing New Orleans, 2004 9 This is a multi-faceted issue that requires a great deal of knowledge and skill to achieve the goal. This is a multi-faceted issue that requires a great deal of knowledge and skill to achieve the goal. Perhaps the most important ingredient is a responsive pupil! Perhaps the most important ingredient is a responsive pupil! Expectations have always been high for the professional singer, but they have not always been what they are now. Expectations have always been high for the professional singer, but they have not always been what they are now.

10. The National Association of Teachers of Singing New Orleans, 2004 10 Carlo Bassini (1812-1870) Bassini’s Art of Singing, 1856 …for, if a singer should present himself at the opera in Paris and fail to give the renowned chest C in the “Huguenots” or “William Tell,” though singing never so well otherwise he would gain but few admirers and be quite certain of producing but little effect.

11. The National Association of Teachers of Singing New Orleans, 2004 11 Genesis: The Closed Timbre In 1837 Duprez shattered the peace with a cannon shot across the stage. The singing world has never been the same. In 1837 Duprez shattered the peace with a cannon shot across the stage. The singing world has never been the same. The French vocal style was: The French vocal style was: Nasal Nasal “That they sang through their noses, is as certain as that the Parisian opera songstresses terrified Dr. Burney and Horace Walpole, by their energetic screaming.” Chorley, Music and Manners in France and Germany, 138

12. The National Association of Teachers of Singing New Orleans, 2004 12 Traditions The French vocal style was: The French vocal style was: Characterized by liberal use of falsetto in the high voice Characterized by liberal use of falsetto in the high voice “Many of them, too, were afflicted with that diseased tendency towards a falsetto, which, in our own country, has run the inordinate length of pushing innocent, portly, middle-aged gentlemen into warbling (more oddly to the eye than agreeably to the ear) the sublimest songs of Handel’s “Messiah”. Chorley, 139

13. The National Association of Teachers of Singing New Orleans, 2004 13 Traditions Domenico Donzelli (1790-1873) Domenico Donzelli (1790-1873) First ‘dramatic tenor’ having a baritone quality First ‘dramatic tenor’ having a baritone quality Rossini’s Othello Rossini’s Othello Created Pollione in Norma Created Pollione in Norma Sang A4 in ‘chest’ Sang A4 in ‘chest’

14. The National Association of Teachers of Singing New Orleans, 2004 14 Traditions Adolphe Nourrit (1802-39) Adolphe Nourrit (1802-39) Many premiers by Rossini and Meyerbeer Many premiers by Rossini and Meyerbeer Rossini’s favorite – the original Arnold in William Tell Rossini’s favorite – the original Arnold in William Tell Student of the elder Garcia Student of the elder Garcia

15. The National Association of Teachers of Singing New Orleans, 2004 15 New expectations Adolphe Nourrit (1802-39) Adolphe Nourrit (1802-39) Vocalism represented and earlier taste Vocalism represented and earlier taste Fine actor, refined taste Fine actor, refined taste Falsetto dominated high voice Falsetto dominated high voice A member of the elite social circles A member of the elite social circles

16. The National Association of Teachers of Singing New Orleans, 2004 16 Changing Traditions Gilbert-Louis Duprez (1806-96) Gilbert-Louis Duprez (1806-96) 1837 – Paris 1837 – Paris Replaced Nourrit as Arnold in Rossini’s Guilliame Tell Replaced Nourrit as Arnold in Rossini’s Guilliame Tell Do di petto Do di petto Learned the technique in Italy Learned the technique in Italy

17. The National Association of Teachers of Singing New Orleans, 2004 17 Guglielmo Tell: “O muto asil del pianto”. Act IV

18. The National Association of Teachers of Singing New Orleans, 2004 18 New expectations Adolphe Nourrit (1802-39) Adolphe Nourrit (1802-39) Threatened by Duprez’s success Threatened by Duprez’s success Left Paris for Italy Left Paris for Italy Studied the new technique in Italy with some success Studied the new technique in Italy with some success

19. The National Association of Teachers of Singing New Orleans, 2004 19 New Expectations New Expectations “Possibly in his less gloomy moments, he (Nourrit) believed that his day was not yet over; that he had still energy to recompose himself anew; that he would, in short, have a chest voice in place of his own nasal and brilliant falsetto di testa and learn that honeyed and long-drawn cantabile which his countrymen were beginning to praise as an indispensable treasure.” Chorley, I, 74. Nourrit committed suicide in 1839 by throwing himself off of his balcony in Naples.

20. The National Association of Teachers of Singing New Orleans, 2004 20 New expectations “After Duprez, the ut de poitrine became a requirement for the Romantic tenor high C, then or now, for the success or failure of tenors.” Stark: Bel Canto: A History of Vocal Pedagogy

21. The National Association of Teachers of Singing New Orleans, 2004 21 New Expectations Change of tradition in France reflected existing practice in Italy. Change of tradition in France reflected existing practice in Italy. Voice teachers at The Paris Conservatory included: Mengozzi (method based on the teaching of Bernacchi), Garaudé (pupil of Crescentini) Voice teachers at The Paris Conservatory included: Mengozzi (method based on the teaching of Bernacchi), Garaudé (pupil of Crescentini) What did these methods have in common? What did these methods have in common? Why did they have to go to Italy to gain this technique? Why did they have to go to Italy to gain this technique?

22. The National Association of Teachers of Singing New Orleans, 2004 22 Manuel Garcia II (1805-1906) 1832 appointed to Paris Conservatory 1832 appointed to Paris Conservatory Central figure in 19 th C pedagogy Central figure in 19 th C pedagogy Famous pupils: Famous pupils: Battaille Battaille Stockhausen Stockhausen Malibran Malibran Marchesi Marchesi Lind Lind

23. The National Association of Teachers of Singing New Orleans, 2004 23 Voix Sombrée! June, 1840 – Diday and Pétrequin reported to the Académie des Sciences on the subject of timbre and laryngeal position as related to Duprez’s do di petto. June, 1840 – Diday and Pétrequin reported to the Académie des Sciences on the subject of timbre and laryngeal position as related to Duprez’s do di petto. Voix sombrée ou couverte (dark and covered) Voix sombrée ou couverte (dark and covered) November, 1840 – Garcia presented his theories to the academy November, 1840 – Garcia presented his theories to the academy Garcia claimed to have been teaching the lowered laryngeal posture and ‘covered tone’ since 1832. Garcia claimed to have been teaching the lowered laryngeal posture and ‘covered tone’ since 1832.

24. The National Association of Teachers of Singing New Orleans, 2004 24 A time of controversy Garcia’s methods were not universally accepted: Garcia’s methods were not universally accepted: Register definition Register definition Intentionally lowered larynx throughout the range Intentionally lowered larynx throughout the range Coupe de la glotte Coupe de la glotte Register building and coordination Register building and coordination Grandfather of the ‘mechanistic’ approach Grandfather of the ‘mechanistic’ approach

25. The National Association of Teachers of Singing New Orleans, 2004 25 A time of controversy Agreement upon ‘quality’, not terminology or method Agreement upon ‘quality’, not terminology or method Falsetto no longer acceptable Falsetto no longer acceptable ‘white’ or ‘open’ (voix blanche) quality not acceptable ‘white’ or ‘open’ (voix blanche) quality not acceptable

26. The National Association of Teachers of Singing New Orleans, 2004 26 A time of controversy G. B. Lamperti (1830-1910) G. B. Lamperti (1830-1910) Opposed to many Garcia techniques Opposed to many Garcia techniques As recorded by William Earl Brown in Vocal Wisdom: As recorded by William Earl Brown in Vocal Wisdom: ‘Covered tone’ is a misleading term. ‘Closed tone’ should take its place. ‘Covered tone’ is a misleading term. ‘Closed tone’ should take its place. In their inception all tones are dark to be opened or closed at will. In their inception all tones are dark to be opened or closed at will. ‘All tones are closed until opened’. ‘All tones are closed until opened’.

27. The National Association of Teachers of Singing New Orleans, 2004 27 A time of controversy G. B. Lamperti (1830-1910) G. B. Lamperti (1830-1910) Although you may acquire a wide range of voice, you cannot modulate the sounds until the resonance of your tones becomes round and rich, chiaroscuro. Although you may acquire a wide range of voice, you cannot modulate the sounds until the resonance of your tones becomes round and rich, chiaroscuro. When a tone ‘opens’ the ‘focus’ of vibration does not change. When a tone ‘opens’ the ‘focus’ of vibration does not change. Return to ‘closed’ quality is impossible if the tone becomes too ‘white’. Return to ‘closed’ quality is impossible if the tone becomes too ‘white’.

28. The National Association of Teachers of Singing New Orleans, 2004 28 Chiaroscuro! There can be little doubt that in desirable “closed voice” (voce chiusa), a timbre that should prevail throughout the singing voice regardless of range, as opposed to “open voice” (voce aperta), there is a stabilized laryngeal position – relatively low – and a somewhat widened pharynx. These conditions together with proper vowel modification (aggiustamento) produce the so-called “covered sound” of the upper range. Miller, The Structure of Singing, 151

29. The National Association of Teachers of Singing New Orleans, 2004 29 Methods Vary to a Similar Goal Keeping the ‘open throat’ in the high range goes against nature! The larynx will rise along with pitch unless trained to do otherwise. Keeping the ‘open throat’ in the high range goes against nature! The larynx will rise along with pitch unless trained to do otherwise. Indirect control Indirect control Yawning, deep inhalation, ‘feeling hollow’ Yawning, deep inhalation, ‘feeling hollow’ Vowel choice [ o ], [ u ] Vowel choice [ o ], [ u ] Vowel modification (migration) Vowel modification (migration) Physical manipulation Physical manipulation

30. The National Association of Teachers of Singing New Orleans, 2004 30 Methods Vary to a Similar Goal D. A. Clippinger “The Head voice and Other Problems” decried the ‘lowered larynx’ as an abomination! First exercises were ascending scales on [o] and [u]

31. The National Association of Teachers of Singing New Orleans, 2004 31 Methods of Approach Importance is more than timbre: Importance is more than timbre: Lowered, stabilized larynx provides the physiological environment to withstand the breath pressure and effort level of the intrinsic muscles necessary for high voice while keeping the margin of the folds free of excessive tension Lowered, stabilized larynx provides the physiological environment to withstand the breath pressure and effort level of the intrinsic muscles necessary for high voice while keeping the margin of the folds free of excessive tension Julius Stockhausen to Oren Brown agree that the open throat is the only environment where the registers will coordinate. Julius Stockhausen to Oren Brown agree that the open throat is the only environment where the registers will coordinate.

32. The National Association of Teachers of Singing New Orleans, 2004 32 Speaking of… OREN BROWN 1909 – 2004

33. The National Association of Teachers of Singing New Orleans, 2004 33 Summary: The modern ‘operatic head voice’ had its beginning in the second or third decade of the nineteenth century. The modern ‘operatic head voice’ had its beginning in the second or third decade of the nineteenth century. It seems to have been the result of a manipulation of the vocal tract which allowed the chest voice to exceed its normal boundaries. It seems to have been the result of a manipulation of the vocal tract which allowed the chest voice to exceed its normal boundaries. Called the voix sombrée ou couvert Called the voix sombrée ou couvert Regardless of method or terminology, it requires that the laryngeal position be maintained at its neutral level or slightly below, above the secundo passaggio Regardless of method or terminology, it requires that the laryngeal position be maintained at its neutral level or slightly below, above the secundo passaggio

34. The National Association of Teachers of Singing New Orleans, 2004 34 And the rest of it… Range extension Range extension Register coordination Register coordination Support Support Artistry Artistry Languages Languages Many others… Many others…

35. The National Association of Teachers of Singing New Orleans, 2004 35 Oh, Yes! It’s not only about the tenors! It’s not only about the tenors! Same issues prevail for all male voices Same issues prevail for all male voices There is a common thread that links the present to the past.; the ‘closed’ quality was there at the beginning and is present in most successful singers, to some degree or another. There is a common thread that links the present to the past.; the ‘closed’ quality was there at the beginning and is present in most successful singers, to some degree or another.