Ambers OB Summary of chapters 5 & 6

Amber OB Chapters 5 and 6

Chapter 5
The things about range is that you should never assume where it begins or ends until you've had sufficient time to experiment and explore. While the basic instrument is built the same in all humans, we all have variations within the instrument that give us our own unique voice print. Oren Brown uses the Hollein model of four different registers. He also points out that we should not be afrait to embrace the falsetto as it is actually used quite a bit outside of classical singing for things like yodeling, hog calling, whooping at concerts and sporting events and so forth. It is important to learn to blend the registers so that to the outsider, it all sounds like one unified one; especially the balance between C.A. and T.A. Dominant movement that must be adjusted all the way up and down the range.
Key concepts: Short practice is best; don't overdo it. Full vocal range takes years to develop, so don't get all hung up on what you are now.
Key words: Voice print, registers, range, Register adjustment, sensitize and exercise.
Connection: We must resist the urge to think we or our students are limited until a full opportunity for (careful) exploration is had.

Chapter 6
“First of all, you are a voice”
This should be like some kind of commandment: Thou shalt not pigeonhole the vocalist!
Don't be in such a hurry to find a label that you limit yourself. You don't know what you can do yet!
Shame on any voice teacher, choir teacher, or music producer who just pushes a child for the sound they want without regard to the health of the child's voice.
There is no such thing as a monotone. These things that sound like tone deafness can more often than not be overcome with patient directed exercise.
Key concepts: Don't be too eager to get classified and limit yourself. Size is not everything. NEVER push a child's voice. Too much is done too soon.
Key words: tessitura, “New” voice, monotone, (no) forcing.
Connection: I know many and overzealous jr. high, high school or even college level choir teacher who should me made to MEMORIZE that last section of this chapter about preserving childrens' voices.