Bel Canto : Principles and practices

By Cornelius L. Reid

Book Overview

Bel Canto Principles and Practices stirrers a renewal of interest in the teaching technique upon which the Golden Age of Singing was founded. This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: B0007DPNL6
• Release Date: January 1950
• Publisher: Coleman-Ross Company, Inc
• Weight: 1.05 lbs.

Customer Reviews

Excellent Overview of Bel Canto Principles

Cornelius Reid wrote this book to restore proven principles of bel canto. This is necessary, Reid says, because modern techniques have led to vocal deterioration. I. HISTORIC BACKGROUND The "Camerata," intellectuals about 1594, wanted to restore Greek drama. By the mid 1600's, many theaters sprang up. Gradually, by 1700's, great vocal displays became the primary objective. The drama of opera declined, but singing, called Bel Canto, excelled. II. EARLY HISTORY OF VOICE TRAINING Pope Sylvester, 4th century, established conservatory for church choirs. Curriculum was 9 years. The most complete source of bel canto technique is Mancini, Practical Reflections (1776). [Note: This is available in public domain.] Other important sources include Caccini, "Nuove Musiche" (1601), and Tosi "Observations on the Florid Song" (1723). III. THE BEL CANTO IDEAL Vocal faults should not determine voice type. E.g., a "bass-baritone" is a rarity--typically, just a reflection of vocal limitation. Resonance, vocal range, and flexibility don't come first; rather, they are based on vowel quality plus proper registration. IV. BASIC PRINCIPLES OF BEL CANTO Top priority was tonal perfection and vowel purity. The method was slow and deliberate, starting with just single tone, gradually adding other tones. V. THE MENTAL CONCEPT Reid explains that success begins with and depends on mental picture of the sound. Careful listening is absolutely critical; a student should become hypersensitive to imperfections and develop awareness of tonal quality. Range extension should not be an early focus. A presupposed quality for a given voice should not be assumed. One doesn't know the actual quality of a voice until the vowels are purified and registers developed. VI. THE VOCAL REGISTERS The register break is always about high E in all voices, male or female. This is the divide between chest and falsetto (or head.) Tenors and altos straddle the break more than other voices. It's not that tenors are more rare, but that good training is lacking. Outer voices can more easily get away with just one register. Basses have most of their range below the break, so unification problems are not so apparent. Bases & baritones always have trouble about Eb simply because the falsetto register is neglected. The term "falsetto" was unfortunate because it suggests inferiority, which is misleading. This register is an important asset. Modern teachers no longer use falsetto/head interchangeably. Modern day well-developed "head voice" is similar to classic falsetto. Falsetto register includes 10-12 semitones, which partially overlap the chest register. Bel Canto is more a description of the result of proper technique, rather than a method. Register development, and joining two registers to work as one is a key precept of bel canto. Training mush achieve development of the weak register, while also ensuring purity of tone. The qualities of each register are interchanged. Emphasis is

GREAT reading.

I searched for this book and finally found it. It made an impression on me in my college days when I sought to master my falsetto and them blend it with my chest register as the "middle voice".Priceless information, especially for the tenor and alto, who must transition the "vocal gap" on a regular basis to utilize their full range.Two-Thumbs-Up!

Heed Mr. Reid's Advice!

This book and the other two books in Cornelius Reid's trilogy on Bel Canto technique (The Free Voice, Psyche and Soma) are the best contemporary books on vocal technique I have found. Mr. Reid thoroughly understands the function of vocal registers- the only correct way to gain complete control over the voice- which is often ignored by many voice teachers today, especially for male students. His writings are based on the teachings of great voice teachers of the past. If you are looking for a voice teacher, read this book first. If the teacher does not agree with the concepts in this book and actively apply them, he/she probably cannot help you reach your full potential unless you have a perfectly balanced voice by nature. I do not just highly recommend these books, they have made the difference for me between near hopelessness and hope for a career as a singer.

Vocal freedom

This is the only book I have come across (or teacher for that matter) that understands how to build a voice from scratch properly.The most important issue addressed is that of the registers. Reid gives historical evidence, his own teaching experience and common sense to support his view. He also gives the essential exercises that are so sorely needed. Understanding and applying these principles aids ease of execution, range, power, voice movement (not wobbling or bleating!)and beauty of tone.My voice is improving in every respect all the time.