 | Vocal Vibrance |
|
| |  |
| | | |
Review of VOCAL VIBRANCE by Journal of Singing's Debra Greschner
The goal of Suzanne Kale's book is to help singers attain the feeling that comes with "the magic gig"; that is, a performance that moves beyond the technical, and draws singer and audience together. While Kale's choice of nomenclature may smack of Contemporary Commercial Music (CCM), the phenomenon crosses style barriers. When there is sincere, open communication, and the singer is employing his or her instrument in an efficient way and drawing upon all its unique capabilities, magic does occur, whether in a cabaret or a concert hall.
Kale breaks the act of singing into its components, and lists the aspects in alphabetical order, beginning with articulators and ending with warm-ups. She provides accurate information on topics ranging from singing scat to the singer's formant, and registers to rehearsal tapes. Each section is short - some only a page in length - and conversational in style. She offers minimal guidance on the order in which the chapters should be read. Begin with breathing, she advises, and then work through vowel sounds and resonance. The section consisting of vocalises, found at the end of the book, should be explored parallel to the readings. Although the subtitle includes speakers, only a single chapter is devoted to the topic; Kale does, however, allude to the speaking voice in other chapters.
The modus operandi is healthy production, and the text reiterates that singers must be constantly sensitive to their vocal health. Beyond that, Kale is nonjudgmental in regard to styles, and encourages singers to listen to all kinds of music. She offers a level-headed and articulate discussion of pop, rock, and belt styles, pointing out the current trends and advocating the use of both chest and head registers. "Classical training is good for singers in all styles," she states. "If you study belt, pop, blend, or chest registers solely, to the exclusion of a strong head voice, you are simply limiting your options." She offers advice in finding a teacher, and recommends every singer continue to study.
Vocal Vibrance covers a wide range of vocal issues in a way that is nonintimidating to beginning singers, or those who sing as an avocation. This is due in no small part to the use of humor throughout the book, such as when Kale compares stage fright to the bubonic plague. To counteract the former, the author recommends daily practice, relaxation exercises - and volunteer work. The latter is to "get you out of yourself and into thinking about other people." A sense of perspective is a valuable thing, and Kale's good-natured emphasis upon the whole person, and the whole world in which we sing, encourages singers to take themselves less seriously.
At first glance, the brief chapters and informal nature of Vocal Vibrance may lead one to categorize it as a superficial self-help book on singing. That is not the case. It touches upon philosophic issues that are at the core of singing, such as why do we sing, and why does the act of singing make us feel good? Kale does not underestimate the reader, but explains the elements of singing in a clear and frank manner. The book presents sound voice pedagogy in an appealing package. Voice pedagogues - especially those who work with nonclassical singers - should investigate Vocal Vibrance as a resource.
From the March/April 2010 issue of Journal of Singing. Copyright (c) 2010 National Association of Teachers of Singing. Permission has been applied for.
|
|
| | |
|
