The Complete Idiot's Guide to Singing

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Foreword

The teaching of voice may be one of the most elusive and careful art forms. In singing one deals with human physiology, not mechanical engineering. A beginning singer cannot reach down inside the body and adjust this or that to produce a beautiful tone. It is here when the expertise of a good teacher must enter. The artful teacher knows just what to say and when to say it, and the results can be surprising, and enormously satisfying.

I have meet few individuals who did not want to sing better. Some beginning singers, after only a few lessons, immediately began to grasp the mysteries of beautiful singing, later developing into artists who are pursuing careers as performers. Others may take more time, slowly absorbing the principals of healthy vocal technique. Every singer is different, and every physical makeup is unique, even down to the subtle distinctions of bone structure. Some singers are born to sing a Schubert lied, others may have a penchant toward more contemporary idioms, many are destined to be leaders in choral groups.

Regardless of disposition or ambition, there are some things that all singers need to know, and a considerable amount of that knowledge is found here in this book. The Complete Idiot’s Guide to Singing exemplifies artful teaching and clearly illuminates the perils, pitfalls, joys, and extreme exuberance that singing can offer. 

The authors state that there is no substitution for a gifted voice teacher, and they are right. What has been needed, though, is a clear guidebook, a reference to the many concepts inherent in the careful study of singing. This book offers that and more. Especially important is the emphasis on musicianship and the development of music reading skills. One of the great tragedies in music education in the last number of years has been the disintegration of a systematic teaching of basic skills, something that all students should and can learn. It is hoped that the strong emphasis on musicianship, not just singing, found in this book, will inspire and provide substance for music students to extend their training to include music theory, ear training, and historical matters. 

What has always struck me about singing is the fact that is so personal, and that there is not one degree of separation between the singer and the instrument. Learning to sing places one in a vulnerable position, and this book helps the burgeoning singer to honestly understand what is involved. There are no short cuts offered here, just clear, artful teaching. 

James Bagwell is Founder and Artistic Director of the New York Repertory Singers, Artistic Director for Cappella Festival Orchestra and Chorus in New York, Music Director for the May Festival Youth Chorus in Cincinnati, and Music Director for Light Opera Oklahoma in Tulsa. In addition, he is Director of Choruses for the Bard Music Festival and prepares the New York Concert Chorale for performances with the American Symphony Orchestra in Lincoln Center. Since 2000 he has served on the music faculty of Bard College, where he is director of orchestral and choral activities.