1. No two consecutive notes, syllables or words should ever receive equal emphasis. The music is always going somewhere and then returning. (Robert Shaw)
2. Always breathe in the shape of the initial vowel.
3. Inhalation, regardless of dynamic, should always be silent, low, and expansive.
4. Stay on the vowel sound as long as possible.
5. Almost all vowels are tall vowels—“space between the molars”—the exception is “eh.” (Sigrid Johnson)
6. Consonants are almost always short and ahead of the beat.
7. Consonants do not need muscular strength—they need air turbulence. Let the air carry the consonants, especially with the letter K.
8. Long notes are either < (cresc.) or > (decresc.) or < > (messa di voce). Long tones never “sit.”
9. Dynamics are not just a question of volume—they are changes of breath intensity.
10. Sing with the most beautiful sound you can produce--all the time. “Never sing louder than lovely.”
11. “Singers are 1/3 vocal technician, 1/3 musician, and 1/3 dramatic actor.” (Donald Neuen)
12. Never think the same pitch on repeated notes—always think slightly higher.
13. Think constant “flow of tone,” rather than “just sing.”
14. Feel as though you are inhaling as you sing the phrase—stay in the expanded inspiratory position. (Richard Miller) “Sing in the breath, rather than on the breath.” (Steve Boehlke)
15. To achieve legato, energize the back half of the note as it moves to the next note. (Edwin Fissinger)
16. Another way to achieve great legato is get to the vowels as quickly as you can, without accenting the consonants. Think staccato then sing legato. What?! (Edie Copley)
17. Ascending intervals that are greater than a 3rd, the top note should be sung lighter.
18. In music, one must think with the heart and feel with the brain. (George Szell)
19. “Shed weight” as you sing higher. “Drop the luggage as you ascend the stairs.” (Timothy Salter)
20. Vibrato should confirm the pitch, not confuse it. J
21. Choral singing is like basketball (three-second lane violation). Look up from your music and make eye contact with conductor every 3 seconds. (Edie Copley)
22. There is nothing more tragic in choral singing than the look of indifference. (Richard Nace)
23. The vocal folds that create speech and song are located halfway between your brain and your heart. Great singers use both. (Robert Fountain)
2. Always breathe in the shape of the initial vowel.
3. Inhalation, regardless of dynamic, should always be silent, low, and expansive.
4. Stay on the vowel sound as long as possible.
5. Almost all vowels are tall vowels—“space between the molars”—the exception is “eh.” (Sigrid Johnson)
6. Consonants are almost always short and ahead of the beat.
7. Consonants do not need muscular strength—they need air turbulence. Let the air carry the consonants, especially with the letter K.
8. Long notes are either < (cresc.) or > (decresc.) or < > (messa di voce). Long tones never “sit.”
9. Dynamics are not just a question of volume—they are changes of breath intensity.
10. Sing with the most beautiful sound you can produce--all the time. “Never sing louder than lovely.”
11. “Singers are 1/3 vocal technician, 1/3 musician, and 1/3 dramatic actor.” (Donald Neuen)
12. Never think the same pitch on repeated notes—always think slightly higher.
13. Think constant “flow of tone,” rather than “just sing.”
14. Feel as though you are inhaling as you sing the phrase—stay in the expanded inspiratory position. (Richard Miller) “Sing in the breath, rather than on the breath.” (Steve Boehlke)
15. To achieve legato, energize the back half of the note as it moves to the next note. (Edwin Fissinger)
16. Another way to achieve great legato is get to the vowels as quickly as you can, without accenting the consonants. Think staccato then sing legato. What?! (Edie Copley)
17. Ascending intervals that are greater than a 3rd, the top note should be sung lighter.
18. In music, one must think with the heart and feel with the brain. (George Szell)
19. “Shed weight” as you sing higher. “Drop the luggage as you ascend the stairs.” (Timothy Salter)
20. Vibrato should confirm the pitch, not confuse it. J
21. Choral singing is like basketball (three-second lane violation). Look up from your music and make eye contact with conductor every 3 seconds. (Edie Copley)
22. There is nothing more tragic in choral singing than the look of indifference. (Richard Nace)
23. The vocal folds that create speech and song are located halfway between your brain and your heart. Great singers use both. (Robert Fountain)
