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Singing and Teaching Singing A Holistic Approach to Classical Voice (4th Edition, Plural Publishing)

The Fourth Edition by Janice L. Chapman & Ron Morris

James Platt, Assistant Editor and Contributing Author

The fourth edition of “SATS” has been meticulously referenced and includes further reading sections, an expanded exercises chapter and vocal exercises index, a glossary of terms, and a comprehensive index. As an author James has contributed to seven chapters. He’s the primary author of the Applied Vocal Acoustics and Acoustic Registration chapter, and he also authored, and complied, the glossary of terms. 

Significantly updated, the fourth edition has 220 more pages!

Singing and Teaching Singing: A Holistic Approach to Classical Voice, Fourth Edition continues to be a beloved resource for singers and their teachers, speech-language pathologists, and laryngologists and an adopted text for instructors and students in voice, singing, and performing arts courses. Janice L. Chapman is able to draw on her experiences as a singer with some of the world’s leading opera companies to present a teaching technique specifically focusing on voice in the areas of classical and opera singing. Interspersed with the concepts and components of Chapman’s methods are vignettes from her life and career, animated by her conversational and vibrant style to guide (and entertain) the reader through the book in a step-by-step fashion. Now expand to include joint authorships with Dr. Ron Morris, the fourth edition draws on his experience as a speech and language therapist, audiologist, and singer, and widens the scope of the book to view current studio teaching practices through a scientific lens.

The philosophy of teaching presented combines three main facets: Holistic, Physiological, and Incremental. The Holistic segment emphasises that the act of singing involves the whole person (i.e., body, mind, spirit, emotion, and voice); the Physiological segment stresses anatomy, muscular function, and effects of muscular interactions so that students and teachers alike can understand and visualise the functional workings of the torso, larynx, and the vocal tract and their impact on good singing practices; and the Incremental section shows that the act of singing and the teaching of singing can be broken down into manageable components that have a natural hierarchy that eventually interact and interlock. This teaching model provides a framework to master one element at a time, with the resulting effect of a complete and integrated mastery of technique. Chapman recommends this framework for rehabilitative work with the dysfunctional singer, for working with the developing singer, and for the ongoing development and maintenance of the technically able professional singer.

This highly-readable text includes contributions from renowned voice professionals, case studies, evidence-based and practical examples, exercises, and videos.

New to the Fourth Edition

New editor and co-author, Ron Morris, BSpThy (Hons); MMusStud (Voice), MSPAA, MASA (CC), PhD

The addition of completely new chapters on Laryngeal Registration, Vocal Acoustics and Acoustic Registration

Clarifications and exercises by Dr. Ron Morris on the use of the Accent Method breathing as a highly effective remedial and training technique

Expanded and updated information on Breathing and Support, Vocal Acoustics, Registers (Laryngeal and Acoustic), Teaching and Learning, Hearing and Singing, and Manual Therapy

Exercises have been significantly expanded and now are contained in a chapter of their own, which includes some information on lesson structure and practice

Significant updates reflect the current state of research and the latest advances in voice science and pedagogy have been referenced throughout

A new glossary has been added for ease of reading and clarification of pedagogical terms used in the text.

An overview of updates from James’ Chapters:

Chapter Four – Breathing and Support – Janice L. Chapman, Ron Morris, and James Platt

A significant update to breathing and support pedagogy including:

  • Re-interpreting historic vocal pedagogy considering modern findings
  • Defining the appoggio and the lutte vocale
  • Defining the co-contracting diaphragm technique, the support diamond, and the role of diaphragmatic breaking. 
  • Stabilising the torso and the role of the quadratus lumborum, latissimus dorsi, and serratus anterior in supported singing
  • The Muscles of Forced Exhalation and the role of the diaphragm and the transversus abdominis
  • Epigastric Locking 
  • From Accent Method Breathing into Supported Singing
  • the link between the transversus abdominis muscle and the pelvic floor and the role of the pelvic floor in breath management for singing
  • The SPLAT in-breath and the degrees of SPLAT (Singers Please Loosen Abdominal Tension)
  • The role of the LAPS and the Pelvic Floor in breath management training
  • New exercises in Breathing into Supported Singing

Chapter Five – Phonation and the Speaking Voice – Janice L. Chapman, Ron Morris, and James Platt

Updates

  • Actions of the vocal folds
  • The stages of phonation (prephonation, onset, vibration, offset)
  • Onsets and Offsets Updated. 
  • Glottal adduction and the Phonatory Adductory Range
  • An update on the myoelastic-aerodynamic theory of singing
  • An updated body-cover model (ligament, body, cover) with the mapping of the laryngeal mechanisms: M1, Mx1, Mx2, M2, M3
  • The Mucosal Wave
  • An updated definition of vocal fold vibration by Chen (2016) refining Hirano’s original model.
  • Phonation Types (Breathy, Flow, Pressed)
  • New sections on the Phonatory Adductory Range and Vocal Fold Closure and Medial Compression
  • The False Vocal Folds

Chapter Six – Laryngeal Registration – Janice L. Chapman, Ron Morris, and James Platt

  • A new chapter on laryngeal registration which defines the laryngeal mechanism of the laryngeal mechanisms (M0, M1, M2, M3 etc.)
  • The Vocal Folds: Body-Cover Conditions
  • An introduction to laryngeal mechanisms (M0, M1, M2, M3) and their common pedagogical descriptors (vocal fry, chest, falsetto, whistle)
  • The voix mixte and defining Mx1 and Mx2
  • An update of the Singing Voice Registers with the edition of Mx1 and Mx2
  • New sections on Laryngeal Register Overlap Areas (Voix Mixte) and Higher Range Training for Sopranos
  • High-speed cinematography images of the vocal folds in M1, Mx1 and M2, Mx2
  • New sections on Lower Range Training for the Female and Countertenor Voice and Upper Range Training for Male Voices

Chapter Seven – Resonance – Janice L. Chapman, Ron Morris, and James Platt

  • The Singer’s Formant Cluster, Squillo and Twang
  • The Open Throat and Collar Connection
    • A wide pharynx and a raised tongue dorsum
    • A high soft palate
    • A Low Larynx combined with a high soft palate
    • Maintaining Pharyngeal Width
    • Breath Management, Semi-Occluded Vocal Tracts, and the Open Throat
    • The Open Throat and the Importance of Pharyngeal Tuning
    • Exercises to achieve the various open-throat components

Chapter Eight – Articulation – Ron Morris and Janice L. Chapman; James Platt contributed to the section on Pedagogical Application.

  • A new schematic of the vocal tract vowel locations by James Platt
  • Inability to Role an “R”
  • The Gross Oral Posture for Singing
  • Tongue Twister Exercises

Chapter Nine – Applied Vocal Acoustics and Acoustic Registration – James Platt and David M. Howard

A new chapter reviewing the pedagogical applications of vocal acoustics.

  • An introduction to sound production
  • Harmonics
  • Vocal Tract Resonances (Formants)
  • Vocal Tract Mechanics
  • The Vowel Formants
  • The Vowel Space
  • Formant Tuning
  • Vowel Identification
  • Psychoacoustics
    • Auditory Roughness
    • Pitch
    • Absolute Spectral Tone Color
    • Under-Vowel, Over-Vowel, and Singer’s Formant Cluster
  • The Piriform Sinuses
  • Acoustic Pedagogy
    • Acoustic Registration
    • Formant-Harmonic Interactions
  • Vowel Modification
    • Passive
    • Active
  • Acoustic Registers
    • Open Timbre
    • Close Timbre
    • Yell Timbre
    • Whoop Timbre
  • Male Upper Voice Training
    • Negotiating the Upper Male Range: “The Turn”
    • Vowel Turning Points
  • Negotiating the Female and Countertenor Upper Range
    • Vowel Opening for Pitch Ascent in Female and Countertenor Voices
  • Whoop Timbre and Beyond – An Acoustic Analysis
  • Acoustic Register Charts (Bass, Baritone, Tenor, Alto, Soprano)

Chapter Ten – The Exercises – Janice L. Chapman, Ron Morris, and James Platt

A new chapter included all of our current exercises and a description of their pedagogical application. 

  • The Singing Lesson
    • The Lesson Format
    • The Warm-Up
    • Voice Building: Technical and Voice Function Exercises
    • From Exercises to Repertoire
    • The Cool Down
    • The Dreaded “P” Word: Practice
  • Breathing & Support Exercises
  • Semi-Occluded Vocal Tract Exercises
    • Steady and Fluctuating SOVTs
    • Combined SOVT Exercises
    • SOVTs and Pitch Change
    • SOVTs and Airflow
    • SOVTs and Singing Repertoire
  • Collar Connection
  • The “ng” Exercise
  • The Puffy Lips/Cheeks Exercises (updated)
  • Exercises for the closing of the velar port
  • Onsets and Offsets
  • Resonance and Articulation Exercises
    • Dial-a-Vowel (updated)
      • Finding the tongue’s “sweet spot”
      • The Vowels, Pharyngeal Shape, and Larynx Height
    • The Retroflex “r”: An additional approach for Finding the Tongue’s Resonant Sweet Spot 
    • Tongue Twisters (updated)
      • Tongue Twisters: Part Two: Optimal Articulation with Legato
      • The Advanced Use of Tongue Twisters
    • Monitor of Tongue Root Tension (TRT)
    • Monitor for Pharyngeal Tension
    • Finding Squillo
      • Finding Pure Twang or Squillo
      • Finding Twang in the Classical Voice
      • Twang with a Lower Larynx
    • The Ultimate Release for a Retracted Tongue: The Anti-Gag Tongue Pull
  • Effort Levels
    • Staccato Exercises
  • Laryngeal Registration Exercises
    • The Yodel Exercise (M1 to Mx2)
    • Laryngeal Register Transitions
      • Female Voices [Modal to Middle (M1-Mx2)] and Countertenor Voices [Modal-Falsetto] (M1/Mx1-M2)
      • Chromatic Voix Mixte (M1/Mx2) Exercise
  • Bass, Baritone, and Tenor Register Transition Exercises
    • Modal/Chest Register (M1) to Head Register (Mx1)
    • The French “oo” Exercise
    • Mx1 (Head Register) to M2 (Falsetto)
    • Exercises to reduce Jaw Dependancy in the Upper Range (Male Voices)
    • Jaw Dependancy in Treble Voices (Soprano, Mezzo, and Countertenor) 
    • Upper Passaggio Training in Male and Female Voices
  • Vowel Modification
    • Passive and Active Vowel Modification
  • Coloratura Techniques
    • Coloratura Runs
      • Articulated and Legato Coloratura
    • The Trill
    • Leaps

Appendix. Glossary of Terms – James Platt

A new glossary is added to this addition which also includes common pedagogical, anatomical, scientific and medical terms. Pedagogical terms are related to the SATS pedagogy. James has also explained historical pedagogical terms using current SATS pedagogy.