June 27, 2014

Letter to the Reader 2

A couple of years ago, I used this photograph to accompany an announcement that I was working on a book, which later appeared in the form of Hidden In Plain Sight: The Hermann Klein Phono-Vocal Method Based Upon The Famous School Of Manuel Garcia (2013). Little did I know that, as a result, the Janet Spencer recordings would come to light—which still takes my breath away. Since the book was published, I've adopted the perspective that it's not a good idea to talk about one's writing projects (a matter of keeping the energy where it belongs), but can say that there are a couple of things on the burner. 

In other VoiceTalk news, I'd like to let you know about the inclusion of the Petersen Voice Studio in my blogroll, which can be easily found when scrolling down the right hand column. It's great to have another seeker of vocal wisdom in the house. Those with sharp eyes will also notice that VoiceTalk's appearance has changed slightly, and the content of the right hand column has been edited and reorganized in an effort to enhance the reader's experience.  

Lastly, I can't tell you what pleasure it gives me to hear from you. Your comments, emails and messages, make it all worthwhile. 


  1. Wow Daniel! Thanks for the mention. I am so appreciative of your work, and I always learn something new when I read your blog. Thanks for all you do, and I'm honored to share in this singing journey with you!

  2. Hello Daniel, I am just about to pick up my copy of " A dictionary for modern singers" recommended by you in this blog.

    I want to let you know that I am ending my MA in Music Education , here in Brazil. My paper is about the Pedagogical tools to training young tenors, and what´s the opinion of the brazilean voice teachers on this tribe. I myself as a tenor had lots of difficulties during my student days. I was trained in Havana by a teacher that had studied at La Scalla. However what I have learn as a voice teacher after many years, is that the first periods of training are essential for the future singer. I also want to thank you once more for the great job you do here, and I will for sure mention your name on my paper as one of my main sources of information on the singing voice. Please if at any time you are able to post something on the tenor voice and the most frequent issues on the pedagogical side, I would be thrilled.
    My best wishes,
    Nestor Gurry ( ngurrytenore@gmail.com)

  3. Hi Nestor- Thank you for your comment, which shows that 1) problems are often the cauldron by which we learn, and 2) help others. I think this is very important. Those who have it easy from the get-go, often do not make the best teachers since they haven't had to "work things out," which you have done! Bravo! Please consider sending a copy of your paper, and thank you for the mention in your work! Re the tenor voice, don't forget that Hidden In Plain Sight features the tenor text of Klein's manual. I have not found a more complete "method" anywhere that has its depth and breath. It really is a remarkable resource. That said, I believe the main difficulty for the tenor (and a baritone who must sing G and above) is the ability to access the "middle" register. As far as that goes, the knowledge that is contained in my post "How Manuel Garcia Taught Blending or Registers" will be a big help. Of course, it helps to have someone show you what this means. What most tenors don't realize is that the "change" of registration must start taking place a lot lower than is thought, which is why the exercise starts on D for tenors in García's treatise. Of course, the quality of the D has to be right to start with since a nasal or guttural timbre will not go up easily! Always good to hear from you, and wishing you the best!


I welcome your comments.