Table Of Content

THEFOUR VOICES OF MAN THE FOUR VOICES OF MAN J erome H ines Limelight Editions New York First Limelight Edition November 1997 Copyright © 1997 by Jerome Hines All rights reserved including the right of reproduction in whole or in part in any form. Published by Proscenium Publishers, Inc., 118 East 30th Street, New York, NY 10016. Library of Congress Cataloging-in-Publication Data Hines, Jerome, 1921- The four voices of man / by Jerome Hines, p. cm. ISBN 0-87910-099-0 1. Singing. 2. Vocal registers. 3. Singing—Vocational guidance. 4. Opera—Vocational guidance. I. Title. MT820.H655 1997 783\043—dc20 97-20989 CIP MN Book design and composition by Emdash, Inc. Manufactured in the United States of America. A word of caution If you are not at an advanced level of training, PLEASE KEEP THIS BOOK ON THE SHELF until YOUR TEACHER RECOMMENDS THAT *If, when you are ready, your teacher fails to direct you to this book, get another teacher! T C able of ontents Page Acknowledgements ix Preface xiii Introduction xvii Chapter I Vocal Axioms 1 Chapter II Support/Appoggio 11 Chapter III Support/Appoggio Revisited 19 Chapter IV Tongue, Jaw, Lips, et al. 35 Chapter V The Larynx 41 Chapter VI Placement and Registers 47 Chapter VII The First-Voice 57 Chapter VIII The Second-Voice 71 Chapter IX The Third-Voice 79 Chapter X The Fourth-Voice 89 Chapter XI The Four Voices As One 93 Chapter XII The Lesson 101 Chapter XIII Choosing a Teacher 113 Chapter XIV General Health and the Voice 131 Chapter XV Vocal Health and Trauma 143 Chapter XVI Preservation of the Mature Voice 155 Chapter XVII Stage Fright 159 Chapter XVIII The Conductor and Coach 167 Chapter XIX The Singing Actor 177 Chapter XX The Manager 189 Chapter XXI The Impresario 193 Chapter XXII The Critic 197 Chapter XXIII In Conclusion 211 Appendix I 223 Appendix II 227 vii A cknowledgements My eternal gratitude to my beloved Lucia, critic sans-souci and to whom I wholeheartedly dedicate this book. Thanks to all the artists I interviewed in Great Singers On Great Singing and who gave me so much to think about. And thanks to the following who contributed so much to my career and understanding (listed chronologically): Lucy McCullough, who discovered my voice and then selflessly pushed me out of the nest. Gennaro M. Curci, who did such a fabulous job of teaching me and launching my career. Lauritz Melchior, who proved to me that high is really low. Rocco Pandiscio, who first taught me to sing as I speak: without taking a breath. Robert Merrill, who influenced me to continue my studies under Samuel Margolis and advised me to use pure undistorted vowels and never give more than 90 percent of my voice. Samuel Margolis, who gave me the vocal discipline that leads to longevity. IX