A great teacher on great singing

One of the most famous books about singing from the 1980s and 90s is called Great Singers on Great Singing. For the book, operatic bass Jerome Hines interviewed many of his colleagues at the Metropolitan Opera in New York City to learn how each of them approached their singing technique. What was eye opening for readers was to see just how differently the singers described their technique. Even though every singer profiled had established a successful career at the world's most famous opera house, they were often choosing quite different strategies in order to make their sound.

I'm currently reading a similar book called Great Teachers on Great Singing by Robin Rice. Using a similar format to Great Singers on Great Singing, Dr. Rice instead chose to interview "some of the finest singing teachers in America." As you might expect, there are similarities, differences, and even flat out contradictions when it comes to the technique each teacher promotes. But that was only one of the reasons I wanted to read the book. The other reason is that one of my former teachers, Dr. Robert Harrison, is one of the "master teachers" featured in the book.

Dr. Harrison was my voice teacher as well as the chair of my doctoral committee when I was studying at the Indiana University Jacobs School of Music. At the time, he had come to Indiana after serving as a professor of voice at Colorado University. I had the honor of being his first doctoral student at IU.

It's fair to say that I learned more about singing, about the voice, and about teaching from him than from any other teacher or mentor I have had. Reading his chapter of Great Teachers on Great Singing was like having another voice lesson with him and reminded me of so much of what he had taught me in our time together. He is retired now and living in Denver and we are still in touch.

For this blog, I thought I might choose one of the important points from his chapter to expand upon but I couldn't narrow it down to just one great point. Instead, I'll share several of his quotes below to provide a picture of his perspectives and maybe give you some ideas to ponder in your practice this week.

"Well, to me there are three general standards that all singers need to meet. They must sing accurately, both with respect to pitch and rhythm, use correct diction, and by all and every means, be able to communicate effectively...You might have noticed that I didn't say anything about a beautiful voice." (p.81)

"A beautiful voice that says something enlightens me. I'm also okay with a voice that is not so beautiful but that says something to me." (p.81)

"...a good singer is always someone who is ultimately providing an autobiography of him or herself. When we hear somebody sing, they're not talking about that character. They're actually talking about themselves." (p.81)

"I want thorough resonance with the least amount of cord use." (p.82)

"The mission is, through singing, to say something to change the life of a listener who has often paid to be at a performance. We have a responsibility to say something to them that will change the way they feel and the way they think." (p.84)

"...in this world of sound and sensory bombardment, the use of silence can be a very powerful and expressive tool." (p.84)

"By the way, you are paid to breathe. Don't be afraid to earn money for not singing. I don't know of anyone yet who can sing without air." (p.85)

"My students know well my oft repeated axiom with regard to breathing and its relationship to singing: no air, no sound, no dollars." (p.85)

Consider some of Dr. Harrison's ideas this week. What are your goals for the second half of the semester?

Now go practice.

Dr. H. signing his approval of my dissertation defense.