PODCAST · arts
Cornelius L. Reid Project
by Cornelius L. Reid
Cornelius L. Reid, voice teacher, pedagogue, lecturer, and author, is well known in the voice community, having authored five books on vocal pedagogy and many published articles. A Festschrift was published in honor of his 90th birthday. Many of his pupils have been singers and teachers in major national and international venues. Despite these noteworthy achievements, his methodology is not well known. Words can describe sounds only in a general way. It is impossible to write a ‘how to” book on the teaching of singing because voice teaching requires the ability to listen functionally- that is, to associate vocal sound with specific muscular activity. The ear needs to be trained to distinguish subtle differences in vocal quality and associate that quality with the probable balance of tension distributed among the muscles involved in phonation.According to Reid, the voice can be developed in response to specially arranged patterns of pitch, intensity, and vowel. When the voice is given p
Episodes
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Singer I - Lesson Excerpt (6/16/07)
Comment: One can notice a marked improvement in this singer's voice in a relatively short period of time. The high notes are easier and the low notes not as heavy. Quote: Self-Regulation: the inherent ability of an organism to recognize and respond favorably to a congenial environment; a...
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Singer I - Lesson Excerpt (4/20/07)
Comment: The important thing to take away from this lesson is that there are no so-called front and back vowels in singing. All vowels are formed in the back. The use of the "oo" vowel here is interesting. Quote: Vowels are of particular interest throughout training. Tonal impurities are easily...
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Singer I - Lesson Excerpt (4/20/07)
Comment: In this lesson, one can hear a lighter, more tenor-like quality to the voice. Up to this point, this singer had sung exclusively as a baritone. Quote: Everyone has heard of tenors who have become baritones, baritones who have become tenors, and, as was true with one singer who performed...
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Singer I - Lesson Excerpt (4/17/07)
Comment: This lessons explains the real meaning of "appoggiare la voce" or the ability to "lean" on the voice. It has nothing to do with breath support as is the popular point of view. There is also a discussion of an "open" vs. a "covered" sound. Quote: Appoggiare la Voce: Italian, "to lean on…
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Singer I - Lesson Excerpt (4/16/07)
Comment: The progression of this lesson is a great example of the usefulness of the falsetto in taming the chest voice. Listen to the WHOLE lesson to really understand what it means to listen functionally. Take note of the discussion about baritone vs. tenor. Quote: Functional Listening: aural...
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Singer H - Lesson Excerpt (4/5/07)
Comment: This shows the culmination of study for this singer. He now has a singing voice where his tongue can move freely and the changing of vowels is easy. Quote: Connection of the five basic vowel sounds, "ah," "ay," "ee," "oh," and "oo," on a single tone. The intent here should be to have…
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Singer H - Lesson Excerpt (3/13/07)
Comment: This lesson is a great example of using the falsetto to fix the over aggressiveness of the chest voice, resulting in a fuller freer chest voice. Quote: The choice of the expression 'falsetto' to indicate the higher of the two registers proved in many respects, however, to be misleading,...
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Singer H - Lesson Excerpt (2/8/07)
Comment: Not only has this singer smoothly crossed over the register break, but he is able to repeatedly sing the full, well resonated high note loudly and without strain. Quote: There is another side to the character of resonance: its so-called "carrying power" and "projecting" ability. There is...
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Singer H - Song Excerpt (Aria) (11/1/06)
Comment: From folk to opera. This singer now has a choice. Quote: The stature of a singer is measured in technical terms by his ability to command AT WILL a wide variety of tonal coloration. This is made possible by associating his expressive aims with their physical counterparts as reflected in...
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Singer H - Lesson Excerpt (7/4/06)
Comment: This exercise is designed to combine the registers. The octave ee vowel has a falsetto like sound, however, there is chest voice involvement because of how smoothly the voice descends back to the tonic. In the louder ah exercise the chest voice is trying to combine with the falsetto on…
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Singer H - Lesson Excerpt (4/21/05)
Comment: The voice is definitely developing. It now has power, depth, and fullness. It is a common occurrence that a student is astonished at the types of tonal qualities he is capable of making. One wonders if this student knew he could make such sounds. Quote: For the singer, objective…
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Singer H - Lesson Excerpt (11/1/04)
Comment: You can hear the over dominant chest voice here. Cornelius is using the oo vowel to temper the aggressiveness of the chest voice. Quote: ...the physical contour of the vocal folds is strongly influenced by certain vowel phonemes...although these muscle systems are involuntary, they can…
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Singer H - Pre-Reid Song Excerpt (4/04)
Comment: This is a very pleasant voice with no obvious constrictions. There is some breathiness in the sound at times, but all in all, a lovely sound for the music he is singing. However, is this the limit of the voice's potential? Quote: As a reflector of the emotions the expressive capacity of...
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Singer G - Lesson Excerpt (8/26/07)
Comment: This lessons shows the importance of making the head voice dominant, especially in the upper passaggio and how different vowels have different register balances. Quote: The essential factor in singing is lyricism, and it is the so-called "head" register which infuses the voice with its...
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Singer G - Lesson Excerpt (4/28/07)
Comment: Establishing the chest voice on the bottom, then establishing more head voice in the middle, the result being freer high notes. Quote: In principle, a "mixed" registration is in place when within a given pitch range the ratio of tension shared between the cricothyroids and the arytenoid...
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Singer G - Lesson Excerpt (3/24/07)
Comment: The role of the cricothyroids and other pedagogic gems. Quote: ...the sole function of the cricothyroid muscle system ...is to regulate the pitch, for which reason this muscle system is often referred to as "the stretcher of the vocal folds." (Essays on the Nature of Singing)
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Singer G - Lesson Excerpt (2/14/07)
Comment: Using the oo vowel to get more head voice and a functionally more efficient quality. Quote: Although the possibilities of vowel manipulation are almost endless, especially when used in conjunction with the principles governing registration, several common and predictable reactions are to…
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Singer G - Lesson Excerpt (10/25/06)
Comment: The chest voice on the bottom is used aggressively to help the bracing action needed from the chest voice for the high soft notes. Cornelius says, "Here, we study voice" which refers to functional listening. Quote: Learning to hear functionally means that one judges and evaluates tone...
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Singer G - Lesson Excerpt (7/15/06)
Comment: At a certain point the singer runs out of breath, so Cornelius changes the exercise, without even addressing the fact that the student ran out of breath. Her running out of breath had nothing to do with how she was breathing, but the imbalance of the registers. Once her voice was more...
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Singer F - Coaching (7/18/07)
Comment: This excerpt shows how technique and music are intertwined. By working technically, the piece becomes not only easier for the singer, but is more musical. By not pushing on the low notes, the top notes are better. Quote: That bodily functions are by nature rational is beyond dispute....
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Singer F - Lesson Excerpt (6/9/07)
Comment: Cornelius hears an improvement in the sound of a high note when the singer makes a diminuendo on it and immediately says, ""Let's investigate that."" It is then that he decides to swiftly change the exercises, obviously working on lightness and flexibility. Quote: Functional listening, a...
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Singer F - Lesson Excerpt (1/18/07)
Comment: Using the ee vowel to find a better ah quality. Quote: Once the student has learned to gain control over different sounds representing vowel changes he has learned to directly control the involuntary muscular action of the vocal organs. When Tosi warned against singing 'through the…
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Singer F - Lesson Excerpt (7/13/06)
Comment: The voice is too "heavy." Cornelius lightens it up using la la's. The exercise induces the tongue movement at the tip to be flexible enough so as not to interfere with the sound. Quote: ...the tongue functions in a dual capacity during phonation. Its forward part, or blade, must be...
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Singer F - Lesson Excerpt (1/4/06)
Comment: Here Cornelius makes the student aware of her vibrato and how being aware of what you do makes it possible to conceptually repeat it. Quote: The student need only concentrate on the pitch, intensity, and vowel patterns suggested by the teacher and respond freely without regard for...
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Singer E - Coaching (6/21/07)
Comment: More musical interpretation from a master. Unfortunately, you cannot see what is happening, as Cornelius actually conducted his students while they were singing. Many times he showed them what to do by his gestures. Quote: To help bring the student to the point at which he is able to...
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Singer E - Coaching (5/30/07)
Comment: A great example of learning how to approach musical interpretation. Quote: When a stage of training has been reached where the voice is produced spontaneously and without conscious effort, the singer is free to give his entire attention to musicianship and interpretation. Habit patterns…
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Singer E - Coaching (5/9/07)
Comment: You can hear how this singer's voice is more flexible and capable of more nuances, in other words, it is functionally freer. Quote: In no field of creativity is the artist able to communicate effectively without adequate technique. A correct technique not only RELEASES expressive...
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Singer E - Lesson Excerpt (5/2/07)
Comment: Use of the octave jump to make the voice less chest oriented and allow for a better register coordination. Quote: An important preliminary exercise for introducing a factor common to both registers is the octave jump. What this does is to help establish a resonance adjustment which is…
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Singer E - Coaching (10/4/06)
Comment: Smoothing out the different vowels to make fast singing with words more easy. Quote: Acoustically, each vowel is defined and resonated because of a special arrangement, concentration and distribution of energy within the overtone structures. When one conceptualizes a vowel, the…
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Singer E - Lesson Excerpt (10/2/06)
Comment: Using the falsetto to take away the aggressive quality of the chest voice. Showing that loud singing does not equate with greater physicality. Quote: (To) Force: the use of excessive energy to compensate for an absence of muscular equilibrium within the vocal tract; to "push." ...since…
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Singer E - Coaching (5/12/06)
Comment: Obviously, this singer has a very good voice, however, if you listen carefully, there is a "pushed" sound to the loud singing. Compare this to the next lesson excerpt, where this singer sings a very full, easy, F natural. Quote: (To Push): during phonation, to expend energy that is...
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Singer D - Coaching (7/18/07)
Comment: Here Cornelius works with musical interpretation. Quote: As a reflector of the emotions the expressive capacity of the vocal organs is virtually without limit. And this is how it should be. Art is not primarily concerned with beauty, but with life, and functional freedom is a necessity…
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Singer D - Lesson Excerpt (5/28/07)
Comment: Ascending arpeggios to bring the head voice quality down making the voice more lyric. Change of vowels on a single note, the sequence bringing a more lyric quality into the other vowels. Quote: Since under certain conditions the physical dimensions of the vocal folds adjust to the…
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Singer D - Song Excerpt (4/25/07)
Comment: Here, Cornelius is working the voice to get a fuller sound in the middle, so it matches the top of the voice. Quote: Briefly stated, the vocal pattern to be sought after should include full-bodied low tones which gradually increase in power as the scale is ascended while, in addition…
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Singer D - Song Excerpt (2/14/07)
Comment: The voice is much more lyric and the lower notes match the upper notes. There is a buoyancy to the sound, despite the fact that the singer has a "big voice." Quote: Big Voices: a term used to describe voices that are well resonated and opulent, as opposed to those that are loud and...
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Singer D - Lesson Excerpt (1/29/07)
Comment: Explanations by Cornelius about his pedagogic philosophy. The importance of spontaneity and rhythm (singing like dancing). Getting the heaviness, i.e. too dominant chest voice out of the sound. Quote: Here is a perfect example of the principle behind gaining spontaneity through release....
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Singer C - Song Excerpt (6/7/06)
Comment: The difference is astonishing. Better vibrato, better vowels, more flexibility, more lyric high notes without losing the full baritone quality. Quote: The fact is, a truly beautiful tone finds its expression not only in qualities of sheer loveliness, but in complete vocal, that is,...
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Singer C - Song Excerpt (8/22/02)
Comment: A big difference in the vibrato which is no longer a tremolo. Completely in tune. Easier high notes. Quote: Tremolo: a tonal movement generally produced by unrelieved muscular tension...Tremulous tones are harmonically impoverished, nervous in aspect, qualitatively monotonous, and...
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Singer C - Pre-Reid Song Excerpt (1982)
Comment: You can hear the potential in this voice. You can also hear he is out of tune and there isn't much nuance in the singing, because his voice is not free enough to allow it. Quote: Singing in tune is a reflexive event which occurs whenever there is perfect consonance between concept and...
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Singer B - Song Excerpt (3/5/07)
Comment: Compare this with the excerpt recorded before taking lessons with Cornelius. Quote: You don't judge a teacher by his best pupil, you judge a teacher by what a pupil sounded like when he entered that teacher's studio and what he sounded like when he left it. (Personal communication from CLR)
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Singer B - Lesson Excerpt (2/2/07)
Comment: High notes much easier. Stronger head voice. Compare this vibrato with the first two examples of this singer. Quote: ...when the contractions of the muscles involved in phonation are not working harmoniously and co-operatively, the conditions necessary to produce a vibrato action have…
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Singer B - Song Excerpt (11/1/06)
Comment: Same song excerpt as before with noticeable improvement. Quote: The practical working out of any training program must begin with the mental concept. ...by the time vocal study is begun, the student recognizes and accepts certain tonal qualities as being peculiarly his own; the sounds...
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Singer B - Lesson Excerpt (5/11/06)
Comment: Notice how, as the exercise sequence progresses, Cornelius increases the rhythmic tempo to help the voice along. Quote: Training in rhythmic response, used in conjunction with principles governing registration, makes it possible to restructure and revamp all aspects of vocal technique…
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Singer B - Song Excerpt (9/12/05)
Comment: The voice is freer and therefore able to be more flexible, rhythmic, and have more musical nuances. Quote: The substance of an effective performance is rhythm. Rhythm is inseperable from tempo (movement) and is instrumental in tracing the design of a musical phrase. It is also a factor…
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Singer B - Lesson Excerpt (3/11/05)
Comment: Use of the "ee" vowel. Quote: ...ee tends to coordinate the registration, but at the same time exposes weakness in the resonance adjustment (constrictor tensions are readily detectable with ee)... (A Dictionary of Vocal Terminology)
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Singer B - Lesson Excerpt (3/10/05)
Comment: Use of the "oo" vowel. Quote: ...the so-called "closed" vowels elicit more head register response; (A Dictionary of Vocal Terminology)
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Singer B - Lesson Excerpt (6/22/02)
Comment: Resonance adjustment conditioned by the vowel. Changing vowels on a single tone. Quote: ...control over the resonance adjustment through its correlative association with the vowel becomes a consideration of major importance. ...The intent here [singing different vowel sounds on a single...
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Singer B - Lesson Excerpt (3/19/01)
Comment: More lyric sound. Upper harmonics more dominant in the voice, i.e. the voice is less "heavy." Quote: The essential factor in singing is lyricism, and it is the so-called "head" register which infuses the voice with its lyrical properties. Thus to drop out this mechanism and CHANGE to the...
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Singer B - Lesson Excerpt (2/25/00)
Comment: Stronger sound much freer. Use of the pure falsetto. Quote: Since ... the falsetto is usually undeveloped and poorly integrated, it must be disengaged if technical progress is to be made. As a consequence of this separation the entire coordinative process, even though largely…
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Singer B - Song Excerpt (1/3/99)
Comment: A big improvement from the first song. Quote: The unassailable logic of the body is made evident by the fact that it rebels when it is abused and responds willingly when used in a way that is functionally compatible. (The Free Voice)
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ABOUT THIS SHOW
Cornelius L. Reid, voice teacher, pedagogue, lecturer, and author, is well known in the voice community, having authored five books on vocal pedagogy and many published articles. A Festschrift was published in honor of his 90th birthday. Many of his pupils have been singers and teachers in major national and international venues. Despite these noteworthy achievements, his methodology is not well known. Words can describe sounds only in a general way. It is impossible to write a ‘how to” book on the teaching of singing because voice teaching requires the ability to listen functionally- that is, to associate vocal sound with specific muscular activity. The ear needs to be trained to distinguish subtle differences in vocal quality and associate that quality with the probable balance of tension distributed among the muscles involved in phonation.According to Reid, the voice can be developed in response to specially arranged patterns of pitch, intensity, and vowel. When the voice is given p
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Cornelius L. Reid, voice teacher, pedagogue, lecturer, and author, is well known in the voice community, having authored five books on vocal pedagogy and many published articles. A Festschrift was published in honor of his 90th birthday. Many of his pupils have been singers and teachers in major...
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