Professional Baritone

“Richard Miller’s Securing Baritone, Bass-Baritone, and Bass Voices is unsurpassed in it is clarity and logic in defining the lower male singing voices. His method based on Italianate School vocal development, and supported by scientific voice research, Miller leads you step by step through the vocal procedure of development, to the point of applying it to the originative routine of interpreting vocal literature. He leaves no page unturned. Clearly, this is a singer’s manual like no other and a ought to for emergent and performing artists-bravo!” —Donald Bell-international baritone-Professor, the University of Calgary

“As with his other books, this is an necessary text for severe students and teachers of the art of singing. Concentrating on the low male voice, it is exhaustively researched, without doubt or question staged and exact in it is descriptions of effective and finelooking voice production. It is the only substantial text with this focus I have ever seen and it will be on my desk-for use by my students and myself-for the rest of my career.” –David Small, Baritone, Associate Professor of Voice and Opera at the University of Texas, School of Music

About the Author
Richard Miller is Professor Emeritus of Singing at Oberlin Conservatory. A visionary strength in the uniting of tradition and the acoustics of the singing voice, he is the author of a good deal of books on voice pedagogy, literature, and performance, including The Art of Singing (1996), Training Soprano Voices (2000), Singing Schumann (1999), and Solutions for Singers (2004).

Professional Baritone

Perhaps the most famous writer in the field of vocal pedagogy, Richard Miller has delivered a new and great contribution to the study of vocal technique in Securing Baritone, Bass-Baritone, and Bass Voices. The primary indepth and comprehensive treatment of low male voices, this book draws on proficiencies and practical counsel from Miller’s years of professional experience as a performer and pedagogue.

With a distinguishable focus on “securing” the technical stability of the male voice, the book offers practical counsel to students, their teachers, and professional performers, through a great deal of practical exercises and repertoire suggestions suitable to respective stages of development. Miller synthesizes historic vocal pedagogy with the latest exploration on the singing voice, always emphasizing the special nature of the male voice and the proper physiological functioning for vocal proficiency. An essential guide to male low voices, this book is an necessary text for performers, aspiring performers, and instructors alike.

The Kamaka company’s lines of ukuleles are established instruments which are designed for severe players. These instruments are made of koa wood, the conventional material from which ukuleles are luthiered. The instruments are likewise built to show off their beauty, with the wood being lacquered in a way that brings out it is natural patters and which protects it. This manufacturer is also famous for it is Pineapple Ukulele. As the name suggests, this ukulele does resemble that fruit, with an oval-shaped body design. This company has a long history, beginning at the turn of the last Century.

Kamaka baritone ukulele makes an magnificent transition instrument for those who are moving from the guitar to the ukulele. This instrument is tuned D-G-B-E, a tuning which most guitar players will recognize as being identical to the top four strings on the guitar. This makes it very easy to pick up one of these instruments and start out paying. The instrument’s heavier strings also give it more of a guitar-like feel, and the scale of the neck is larger, giving guitarists a probability to adjust to the littler frets. Those who are accustomed to electric guitars will be grateful for the 19-fret span of the neck on this instrument.

Kamaka baritone ukuleles get their sound from the use of koa wood. This wood has long been traditionalisti as the standard for ukuleles, all the way back to the instrument’s Portuguese inventors. This instrument also has it is modern aspects, however, as do all ukuleles made by this manufacturer. This company is widely known and esteemed for making innovative, originative instruments that concede players to exaggerate their capabilities. There are ukuleles with 6 and 8 strings and ukuleles of respective body shapes. All of these offer their own flavor to this instrument, no speech with regards to Kamaka would be complete, however, without talking about the Pineapple ukulele.

Like the Kamaka baritone ukulele, the Pineapple Ukulele showcases assorted established features. Its body is koa and it is neck is the traditionalisti scale. It is roughly the size of a traditionalisti ukulele, but has a much dissimilar sound. The tonal characteristics lent to the instrument by this body style include a softer, woodier sound that is a bit fuller than that of the conventional body shape. Any one of the 8 models of ukulele from this manufacturer are priced at professional instrument levels, and are fabricated to the sameness standards of quality.

Professional Baritone Pic

Professional Baritone Picture

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Professional Baritone Image

Most helpful client reviews

12 of 12 persons found the following review helpful.
Welcome addition to my library
By Anonymous
Richard Miller has added yet another tome to his expanding library on the classically trained singing voice with “Securing Baritone, Bass-Baritone, and Bass Voices”. This edition will have pride of prominence next to his other books on the singing instrument.
What makes this book distinguishable is it is focus on the lower male voice. The text offers exercises and repertoire for vocalization. The distinctive quality of this book stands in it is writing. Miller has shed much of his elaborate writing style to develop a book that is direct, easy-to-read, and totally accessible to both performers and teachers of singing. The layout follows his other books in the chapters on onset, breath management, resonance, agility, and messa di voce. He offers an further and added chapter entitled, “Pedagogic Uses of the Falsetto” which entails exercises intended to release aggression in the passaggio and above. The musical examples are gleaned from the art song, oratorio, and operatic literatures and provide every day vocalization material for all levels of singers. One feature of this book is that it does not overwhelm the reader with copious amounts of exercises, but provides the basic starting point from which to grow. For example, there are not pages and pages of agility exercises, but just sufficient coupled with the rep suggestions to make a practical agility session.
Special special and significant stress on issues in the baritone voice such as covering take prominence, as well as breath management (explained rather beautifully for Miller).
In all, this is a highly commended volume for singers and their teachers and will happily stand next to “Training Soprano Voices” and “Training Tenor Voices” as an necessary voice traning guide. Would it be too much to hope for a “Training Mezzo Voices” in the next various years?

13 of 14 people found the following review helpful.
Scholarly work
By C. W. Lawson
This is a great work by a outstanding vocal scholar. I studied this book in detail, and found it to be most helpful in my vocal studies. Although I am just a novice singer, I found Professor Miller to be very readable. I did, however, have to spend extra time studying the physiology terms, with which I was unfamiliar.

5 of 6 persons found the following review helpful.
very helpful
By dorbarn
As a performer and voice teacher/coach, I find anything by Richard Miller to be helpful. Although by requirement there is always a good deal in his books that I already know, it is always put in such a catching way that it revives the memory and makes it posing no difficulty to commune to students. And then there are those details that I do not know… invaluable.

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