The Four Voices of Man

254 Pages·2004·6.63 MB·English

by  Jerome Hines

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