How To Sing

Lilli Lehmann

How to Sing by Lilli Lehmann, one of the most iconic dramatic sopranos of the late 19th and early 20th centuries, is a definitive and in-depth manual on the art and science of vocal technique. This book serves both as an instructional guide and a philosophical discourse on the nature of singing, breath control, vocal placement, and resonance, emphasizing the physiological, artistic, and technical aspects of vocal production. Lehmann offers meticulous detail on each element of the singing process: Breathing techniques and the role of diaphragm control Vocal resonance and the significance of nasal/head placement Tongue, lip, mouth, and throat positioning for optimal sound Vocal registers and how to equalize and extend range Exercises to develop control, expression, and vocal agility The book goes beyond technique, addressing performance mindset, public expression, interpretation, and even posture and practice etiquette. Unique sections include deep physiological insights, making it invaluable for teachers and advanced vocal students alike. Her reflections also include critiques of white voices, tremolo, and language-specific articulation, especially in Italian and German singing traditions. More than just a singing manual, this is a timeless treatise on the soul of the voice, written by a master vocalist who performed on the world's greatest opera stages. The blend of science, art, and experience makes this a cornerstone for serious vocal training.

Table of contents

• MY PURPOSE
• SECTION I PRELIMINARY PRACTICE
• SECTION II OF THE BREATH
• SECTION III OF THE BREATH AND WHIRLING CURRENTS (SINGING FORWARD)
• SECTION IV THE SINGER'S PHYSIOLOGICAL STUDIES
• SECTION V EQUALIZING THE VOICE; BREATH; FORM
• SECTION VI THE ATTACK
• SECTION VII NASAL. NASAL SINGING
• SECTION VIII SINGING TOWARD THE NOSE. HEAD VOICE
• SECTION IX THE HEAD VOICE
• SECTION X SENSATION AND POSITION OF THE TONGUE
• SECTION XI THE SENSATIONS OF THE PALATE
• SECTION XII THE SENSATION OF THE RESONANCE OF THE HEAD CAVITIES
• SECTION XIII SINGING COVERED
• SECTION XIV ON VOCAL REGISTERS
• SECTION XV DEVELOPMENT AND EQUALIZATION
• SECTION XVI WHITE VOICES
• SECTION XVII THEODOR WACHTEL
• SECTION XVIII THE HIGHEST HEAD TONES
• SECTION XIX EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS
• SECTION XX THE TREMOLO
• SECTION XXI THE CURE
• SECTION XXII THE TONGUE
• SECTION XXIII PREPARATION FOR SINGING
• SECTION XXIV THE POSITION OF THE MOUTH (CONTRACTION OF THE MUSCLES OF SPEECH)
• SECTION XXV CONNECTION OF VOWELS
• SECTION XXVI THE LIPS
• SECTION XXVII THE VOWEL-SOUND AH
• SECTION XXVIII ITALIAN AND GERMAN
• SECTION XXIX AUXILIARY VOWELS
• SECTION XXX RESONANT CONSONANTS
• SECTION XXXI PRACTICAL EXERCISES
• SECTION XXXII THE GREAT SCALE
• SECTION XXXIII VELOCITY
• SECTION XXXIV TRILL
• SECTION XXXV HOW TO HOLD ONE'S SELF WHEN PRACTISING
• SECTION XXXVI CONCERNING EXPRESSION
• SECTION XXXVII BEFORE THE PUBLIC
• SECTION XXXVIII INTERPRETATION
• SECTION XXXIX IN CONCLUSION