The Head Voice and Other Problems: Practical Talks on Singing

“There is nothing in the tone world so beautiful as the male or female head voice when properly produced, and there is nothing so excruciatingly distressing as the same voice when badly produced.”

Important advice for teachers of voice, with emphasis on the importance of registration as the bedrock of vocal training.

“The author is a teacher of singing in Chicago, and author of several books on the voice. This one was written to fill a demand for help by his pupils who are now themselves teaching.” -Quarterly Bulletin of the Providence Public Library, Volumes 16-17, January 1918

I VOICE PLACING

II THE HEAD VOICE

III A GENERAL SURVEY OF THE SITUATION

IV HINTS ON TEACHING

V THE NATURE AND MEANING OF ART

VI SINGING AS AN ART

VII THE CONSTRUCTION OF A SONG.

VIII HOW TO STUDY A SONG

IX SCIENTIFIC VOICE PRODUCTION

BIBLIOGRAPHY

“The ability to use the full power of the upper voice when occasion demands is necessary and right, but merely to be able to sing high and loud means nothing. All that is required for that is a strong physique and determination. Such voice building requires but little time and no musical sense whatsoever; but to be able to sing the upper register with power, emotional intensity, musical quality and ease, is the result of long and careful work under the ear of a teacher whose sense of tone quality is so refined that it will detect instantly the slightest degree of resistance and not allow it to continue.”

““It is the mentality of the individual, not the body that is musical or unmusical”