I've been there. I stayed away from this book for too long because I didn't
want to mess with all that crico-arytenoid-type stuff. Well, now I think it
is the most useful volume a singer can have. It's a cornucopia of knowledge
and things to put into practice for the singer. And the best way to
understand all that crico-arytenoid-type stuff is to play with things like
rubber bands and modelling clay. A friend of mine, a fine tenor, made a
larynx out of femo.
OTOH, I have heard it said that Miller says of this kind of knowledge
something along the lines of "Now you know how complicated it all is, LEAVE
IT ALONE!" I don't know how apocryphal this is, but it makes me smile. john
At 03:31 PM 8/17/00 +0100, you wrote:
...
>On the other flip side, I've had Richard Miller on my shelf
>(I should be so lucky!) unread for about three years because
>I'm afraid it might be too technical and get my brain in knots.
...>
>Kevin.
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John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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