Richard Dyer-Bennet

Subject: RE: Richard Dyer-Bennet
From: keberoxu
Date: 01 Jun 16 - 01:22 PM

...with Leadbelly, yet. That is a classic of a story, especially the manager's punch-line!

Subject: RE: Richard Dyer-Bennet
From: Charley Noble
Date: 31 May 16 - 08:58 PM

Yes, this is one of those wonderful Mudcat threads that should be published. Not only does one learn interesting details about a performer and his life but you also learn about his impact on others.

And I had never heard about the Greenwich Village brawl, that Edwin kindly mentioned: 11 Oct 08 - 11:11 PM above.

:-)

Charlie Ipcar

Subject: RE: Richard Dyer-Bennet
From: keberoxu
Date: 30 May 16 - 09:51 PM

And regarding Richard Dyer-Bennet:


Big Al Whittle, I know what you mean. I never did hear this artist live, only on recordings. It seems to me he had one of those very character-ful voices that the microphone, and the recording studio, do not reproduce nicely. I can well imagine that his sound in public, in a room or a hall, might have something you can't pin down, that just doesn't get onto recordings. It impresses me to see the repeated statements of how persuasive his singing was in public. Some artists are like that. It happens in opera too, oddly enough, for example in some specialties like the comedies, the Italian opera buffa. You might have a singer who is masterful on the stage, who is wonderful with the text, and who gets away with a minimal voice that could never be used to sing the big tragic operas. In fact there are old recordings out there of such Italian singers. One soprano, who shall remain nameless, from a really long time ago: her recordings make your teeth grit, but it was said of her live performances that she played her voice like a violin.

Mr. Dyer-Bennet, from an interview or two of his that I read, thought highly of chamber music and of singers of classical music in an intimate setting: he raved about Phyllis Curtin at the Marlboro Music Festival, for example, and she was classical to the core.

Subject: RE: Richard Dyer-Bennet
From: keberoxu
Date: 30 May 16 - 04:09 PM

This thread has turned into an appreciation of singers of traditional music who are formally schooled in some way, along with a lot of information on singing and being trained in singing. I am very grateful for this thread, it is not only informative but most of it is quite positive and constructive.

Subject: RE: Richard Dyer-Bennet
From: Thomas Stern
Date: 22 Apr 16 - 01:12 PM

online Aksel Schiotz discography:
http://www.the-discographer.dk/opera/aksel-index.htm

Cheers, Thos.

Subject: RE: Richard Dyer-Bennet
From: Thomas Stern
Date: 22 Apr 16 - 08:31 AM

Hi Keberoxu,
I had the privilege of auditing a master class Axel Schiotz gave
at the University of Colorado in the 1960's. Even with the severe
damage, he sang with great expressiveness and beauty. A marvelous
teacher.
In addition to his time at the University of Colorado, he taught
at San Francisco State College, University of Minnesota,
in Toronto, and Copenhagen.

For those interested in classical singing, his delightful and informative
book is well worth seeking.
The Singer and his Art
Harper & Row/Harper-Collins, 1969; Hamilton 1971.

for songs of the Scandinavian countries:
The Aksel Schiøtz Anthology of Nordic Solo Songs, edited by Gerd Schiøtz. Edition Egtved Denmark.
For voice and piano.
Swedish words; English translations and commentary, including information about the composers and poets.
Pref. in English. Includes index.
vol. 1, 1984. ISBN 87-7484-020-7. Denmark 100pp.
vol. 2, 1985. ISBN 87-7484-021-5. Sweden   94p.
vol. 3, 1984. ISBN 87-7484-023-1. Finland
vol. 4, 1984. ISBN 87-7484-022-3. Norway
vol. 5. 1986. ISBN 87-7484-025-8. Iceland/Faroe Islands 62p.

ALL his recordings 1933-1946 are available in an 11-CD set released
by DANACORD - available at bargain price. Previously released as
9 single CDs and a 2-CD set. Complete notes included.

The Complete Aksel Schiøtz Recordings 1933-1946, vol. 1-10
Vol. 1: DACOCD 451 - Oratorio and Mozart arias 1940-45
Vol. 2: DACOCD 452 - Schubert "Die schöne Müllerin" and rare Grieg works.
Vol. 3: DACOCD 453 - Schumann "Dichterliebe" and songs by Brahms, Grieg and Bellman
Vol. 4: DACOCD 454 - Hidden treasure records, incl. unfinished "Müllerin" and Mozart test recording
Vol. 5: DACOCD 455 - Romances by C.E.F. Weyse and Scandinavian lute songs
Vol. 6: DACOCD 456 - Danish Golden Age incl. excerpts from Weyse film 1940
Vol. 7: DACOCD 457 - Songs of summer 1938-40 Danish recordings
Vol. 8: DACOCD 458 - Romances by Peter Heise and recordings with newly found Norwegian broadcasts
Vol. 9: DACOCD 459 - "Farinelli" and light orchestral songs, incl. rare popular music
Vol. 10: DACOCD 460 - The complete Carl Nielsen recordings

His recordings are well documented in the Danacord albums, and print discographies:
    Aksel Schiøtz discography by Knud Thage Petersen, 1948
    Nationaldiskoteket. Aksel Schiotz, a discographie.    Copenhagen, 1966.

One of his daughters BIRGITTE GRIMSTAD has had a successful
career as a folk singer, many recordings, and work in children's TV in
Denmark and Norway.

Best wishes, Thomas.

Subject: RE: Richard Dyer-Bennet
From: keberoxu
Date: 21 Apr 16 - 07:51 PM

A belated comment to Thomas Stern on the previous post:

According to the Paul Jenkins biography of Richard Dyer-Bennet, that long-playing vinyl album of Aksel/Axel Schiotz was recorded about the year 1960. I took the trouble to look this up, knowing Schiotz's tragic career turn, and being acquainted with the recordings of both singers. My surmise is correct.

Dyer-Bennet became acquainted with Schiotz through a recording. This Danish native discovered as an adult that he had a singing voice, he was singled out from a chorus. Already well educated, he went about getting training in classical singing. This was between the two wars, and by the time Denmark was troubled by the Second war, Schiotz had a career going; he supported the resistance through recordings and, I seem to recall, radio broadcasts (elsewhere I have had to look up Schiotz's story).   The recordings, like the rest of his career, stopped when Schiotz was in his vocal prime; he sang tenor, not the big Italianate operatic tenor roles, but Mozart which is something else again, and he was masterful in the oratorio repertoire of Handel, Haydn, et al. He also sang Lieder with an endearing Danish accent.

But when Dyer-Bennet went looking for the artist whose recordings had so impressed him, he uncovered the tragedy, already well-known to those of Schiotz's circle. The Dane's life had been saved by surgery on the acoustic nerve, where there was a tumor. Many years later this sort of brain-nerve trouble would be the death of him. For now, it was merely the death of his career, as the resulting nerve damage made neuro-muscular control of his jaw muscles hopelessly flawed.

Schiotz did pursue therapy and rehab with enough success to teach, rather than perform; he could vocalize in the baritone range, the tenor high notes were a thing of the past. Dyer-Bennet must have been a stubborn fellow because he was resolved to record Schiotz, regardless, and so he did. I suspect that it is very hard to find this recording anywhere, since it documents an artist who can no longer perform in public and whose singing will never again be what it was. At least, Schiotz and Dyer-Bennet remained lifelong friends.

Subject: RE: Richard Dyer-Bennet
From: Thomas Stern
Date: 16 Sep 13 - 03:52 PM

Hi Stilly River Sage,
As far as I know, the CONCERT HALL Scottish Songs was only
issued in the USA. The German sub-title was part of the package.
If anyone knows of any European release of these DYB albums,
I would appreciate receiving the details. The catalog numbers
on the Euro releases of other material usually differed from US nos.

Joe - thanks for reminding folks about the availability of all of
the Richard Dyer-Bennet albums on his own label on CD from Smithsonian.

Dyer-Bennet RECORDS released one album by AKSEL SCHIOTZ which
is NOT available from Smithsonian. Any Aksel Schiotz fans ???

Best wishes, Thomas.

Subject: RE: Richard Dyer-Bennet
From: Joe Offer
Date: 16 Sep 13 - 11:45 AM

Everything on the Dyer-Bennet label is available at Smithsonian Folkways - which means it's also available on Spotify.
It's titled Richard Dyer-Bennet, Volume 7: Beethoven Scottish and Irish Songs.

-Joe, just back from Scotland and craving more Scottish music-

Subject: RE: Richard Dyer-Bennet
From: Stilly River Sage
Date: 16 Sep 13 - 11:27 AM

Is the question simply was the album reissued in Germany, and does the record show that reissue?

Subject: RE: Richard Dyer-Bennet
From: Thomas Stern
Date: 16 Sep 13 - 10:11 AM

Hi Charley,
Best wishes!

For those interested in Richard Dyer-Bennet's performance
of the BEETHOVEN settings, in addition to the Concert Hall
albums, he recorded these songs on his own label. Copies
show up regularly on the various sites for old recordings.

Dyer-Bennet 7000 Beethoven Scottish and Irish Songs                1958
Richard Dyer-Bennet, Natasha Magg, Urico Rossi, Fritz Magg,
Faithfu' Johnie
On the Massacre of Glencoe
Bonnie Laddie, Highland Laddie
Sunset
The Lovely Lass of Inverness
The Pulse of an Irishman

Once More I Hail Thee
Morning a Cruel Turmoiler Is
The Morning Air Plays on My Face
The Return to Ulster
Oh, Who My Dear Dermot
Again My Lyre

Best wishes, Thomas.

Subject: RE: Richard Dyer-Bennet
From: Charley Noble
Date: 14 Sep 13 - 07:07 PM

Thomas-

Glad to see you are still posting here.

Cordially,
Charley Noble

Subject: RE: Richard Dyer-Bennet
From: Thomas Stern
Date: 14 Sep 13 - 12:32 PM

The album is NOT particularly rare.

It IS listed at the Library of Congress, and in many other library/archive catalogs.

[Library of Congress online catalog listing]

What information, other than what has been given, are you seeking?

Thomas

Subject: RE: Richard Dyer-Bennet
From: GUEST
Date: 14 Sep 13 - 12:31 AM

So this is what I have:
Concert Hall CHC-13 SIDE 1:
Scottish Songs (Schottische Lieder) 12"- Red 33 LP Blue label.
CHS#85- 4   Faithfu'Johnie, Sweet Were the Hours, 2.Oh How Can I Be Blithe and Glad, The Lovely Lass at Inverness,Could This Ill World Have Been Contriv'd,Sunset                                                      Side 2:Again My Lyre, On the Massacre of Glencoe, The British Light Dragoons, O Mary at Thy Window Be-Bonny Laddie, ending with Highland Laddie on side B.   

So if it was reissued as a single, is it not rare then?

The liner notes are larger than legal size, red black and white.
..talks about the symphony players, and has a separate poem lyric list..(Sir Walter Scott).
Thanks again.
Even Library of Congress has given missed signals, and can not tell me! Would love to email somebody pictures

Subject: RE: Richard Dyer-Bennet
From: Thomas Stern
Date: 13 Sep 13 - 03:47 PM

The CONCERT HALL SOCIETY releases are listed in the discography (above). The society issued 78rpm albums on a subscription basis,
usually limited to 3000 copies. Later some of these recordings were
released on LP (unlimited). Many were also issued in Europe.

The Dyer-Bennet album of BEETHOVEN's Scottish Songs dates from 1946,
initially as 4 12" 78rpm disks in an album, reissued as a single
12" LP.
The BEETHOVEN Irish Songs as 3 10" 78rpm, no LP reissue.

I am not aware of any European release of either album.

Thomas.

Subject: RE: Richard Dyer-Bennet
From: Stilly River Sage
Date: 13 Sep 13 - 02:43 PM

I'm looking forward to reading the answers!

Subject: RE: Richard Dyer-Bennet help
From: GUEST,CJWilson
Date: 13 Sep 13 - 03:37 AM

Have a 12 inch red shellac Concert Hall Society Release CHC-13.(1085-88)../RDB Beethoven

I bought it for the the color, the original liner notes, and could not believe it had RDB, Strosfogel, etc!   
The entire Scotch poems and line up from the concert hall is in there, in love with RDB now.

The paper has possibly German writing on it..Scotch Songs..
Concert Hall Cont Recording Microgroove...


Does anybody know if this was an overseas club release?
I've dated it to early 50's (maybe earlier?)
Thanks!

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 11 Oct 08 - 11:11 PM

RD-B was involved in a bar room brawl. He (very proudly) told me about it. When RD-B tells a story, he doesn't just sit still. He acts out the story.

I don't remember now where it happened, whether at the Village Vanguard or at the Ruban Bleu. He performed in both. He would do one set at one place and then race across town to do another set in the other place.

The brawl started when one member of a group of drunken patrons approached the piano player who was performing at that time. The drunk wanted to play. This was not allowed by the management. The drunk was persistent. RD-B approached the piano to help to explain the policy. The drunk pushed RD-B to the floor. "All hell broke loose," as the saying goes.

One participant was Burl Ives who was hit on the teeth by a swung chair. The chair broke into pieces. But Ives' teeth survived. (Ives's had played football in college.) Another participant was Melvene Dyer-Bennet who jumped on the back of another drunk who was about to hit RD-B.

The drunken group abruptly left after the first few blows. But Ives, apparently more experienced in these matters than the others, said that they would be back. Ives armed himself with a chair and stood guard near the door.

The drunks did come back. One had a kitchen knife that he threw at Ives. The knife buried itself in the chair that Ives held. The fight continued. Eventually the drunks left.

Not a mirror was left unbroken. Tables and chairs were scattered all over. Bottles, broken or spilled, were on the floor. Melvene tended to the cuts, scratches and bruises of RD-B and his friends. All the other patrons had fled at the first signs of combat. But a group of British sailors stayed. They thought, it seemed, that this was how the locals spent their evenings: there was no reason to leave.   

The bar manager did not report the brawl to the police. That would have been bad for business. The next night plywood had replaced the mirrors. RD-B and his friends were back to perform. Leadbelly was there, too, but he had missed the brawl. He listened to RD-B's account of the brawl.

"The next time something like that happens, this is what you should do," Leadbelly said. (He had been jailed once on the charge of murder. He had also been jailed for knifing another man.)

Leadbelly took a chair and held it so that its legs faced outwards much like a lion tamer holds a chair before his lions. Then he took a bottle of beer by the neck and smashed its base on the edge of a table. Then Leadbelly approached RD-B, crouching slightly, chair in one hand and broken beer bottle in the other.

From the other end of the room came the manager's anguished cry: "Jesus Christ! Not again!"

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 05 Oct 08 - 12:32 AM

When an artist is no longer making money for a recording company, his/her records are no longer produced. RD-B wanted people to hear his songs. So he decided to produce his own records.

The decision to risk coming up with his own recording company was re-constructed for me by RD-B. Here is his discussion with his manager (probably Harvey Cort):

           RD-B: How many people buy records?

        Manager: [Gives a number.]

           RD-B: Of that number, what per cent buys records of folk
                  songs?

        Manager: About ten per cent.

           RD-B: Of that number, what per cent have heard of
                  Dyer-Bennet?

        Manager: Maybe ten per cent.

           RD-B: Of that number, what per cent would be willing to
                  buy my records?

        Manager: Around ten per cent.

           RD-B: Can I make a living from that ten per cent?

        Manager: YES!

Subject: RE: Richard Dyer-Bennet
From: Don Firth
Date: 29 Sep 08 - 03:33 PM

Manhattan? No, I live in Seattle, the land of frozen loggers, geoducks, and the occasional erupting volcano. The "what am I doing here!??" thing happens only on rare occasions and fortunately doesn't last more than a few seconds. No big deal.

A long stretch away from playing professionally? Yeah, me, too. Bummer!! "The spirit is willing, but the flesh is weak," as they say. . . .

Don Firth

Subject: RE: Richard Dyer-Bennet
From: Big Al Whittle
Date: 29 Sep 08 - 04:01 AM

Dunno, do you live in Manhattan Don? Is it just artists from Manhattan who were committing suicide. Perhaps the tall buildings have something to do with it.

I generally know why I am there. Its something to do with 'that's what I decided to do with my life', for better or worse - and occasionally if feels very much for worse.

On the other hand, I've had a long stretch away from playng professionally - three years now since I got ill. And I miss the whole lifestyle.

Particularly, I can't stand being a civilian at Christmas, and sitting at home watching Its a Wonderful Life and The Great Escape on the tv with all the other schmucks. I hate Christmas dinners and everything being closed and nowhere to go and gig.

Subject: RE: Richard Dyer-Bennet
From: Don Firth
Date: 28 Sep 08 - 08:41 PM

Hmm! I wonder.

I seemed to have been able to bring off performing okay (I did a lot of it), and most of the time I really enjoyed it, but there were occasional times when I was up in front of an audience when I suddenly thought, "What the hell am I doing here???"

Anybody else?

Don Firth

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 28 Sep 08 - 07:58 PM

Sometime in the'50s RD-B participated in a psychological research on performers and other creative artists. The research, conducted by well-known psychologists and psychiatrists, was undertaken because a number of young artists in Manhattan had been confined for mental health problems or had committed suicide.

According to RD-B, he understood both the need for the research and also why the young artists were having problems. He said, "Sometimes when I am performing I feel like I am going crazy."

Subject: RE: Richard Dyer-Bennet
From: Charley Noble
Date: 23 Sep 08 - 09:05 AM

Edwin-

"One fascinating thing to see during an RD-B performance was how he would tune his guitar in the middle of a song."

One of my earliest memories of RD-B in concert was the exact opposite of this. He had begun a ballad and was part way into it when he realized his guitar needed retuning (few in the audience were aware of that!). He stopped, retuned the guitar, and began the ballad from the beginning. I, being more used to informal house party folk singing, found the experience extremely awkward. This may have been a unique experience or one that persuaded him to subsequently retune as he was singing.

Charley Noble

Subject: RE: Richard Dyer-Bennet
From: Big Al Whittle
Date: 23 Sep 08 - 01:45 AM

Gosh what an odd sound!

surely the guy was a natural tenor, he had that upward lilt that Josef Locke said made tenors irresistable to women.

Of coure as a sixties type person, I had come across the name (along with Niles) in many songbooks, but I had ever really checked him out. (Well lets face it you couldn't just check people out with the flick of a switch before the internet.)

When you think this was possibly the major repository of folksong people looked to, you realise what a leap of imagination - people like Pete Seeger and Ewan MacColl made.

When you look at that repertoire - you realise that this was definitely a stopping off place for 'the tradition' - one that is neglected and swept aside.

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 22 Sep 08 - 10:59 PM

RD-B had one rule on what he would say about a song before he sang it:

What you say must add to the song. If it doesn't, it is better to leave the song alone.

If RD-B had comments to make about a song, he would tune his guitar first (or at least check the tuning.) It was clear that his mental and physical preparation to sing a song began before he made his comments. Then he would make his comments. Having made his comments he would proceed directly to the song. (Examples of his comments are found in his Richard Dyer-Bennet Song Book.)

If RD-B had to cough or clear his throat he did not do it between songs or between lines of a song. He did it in the middle of a line or a word. Thus he did not go: "Alas, my love, you do me wrong [cough] to cast…" Instead he sang: "Alas, my love, you do me wr—[cough]—ong to cast…" The mind disregards the cough because it is paying attention to the word "wrong." Put another way, the mind is actively making sense of the song, in this instance the word "wrong." The cough in the middle of "wrong" doesn't make sense, so the mind disregards it, that is, the listener doesn't hear it.

One fascinating thing to see during an RD-B performance was how he would tune his guitar in the middle of a song. Bear in mind that RD-B didn't look at his left hand during a song; he looked at his listeners. (When I knew him he already had the stroke that made his left side unable to feel anything.) During a song, RD-B would sense that a string was off pitch. He would figure out which string it was and by how much it was off pitch. Still singing the song, and without looking at his left hand, he would quickly reach over with his left hand and give the offending tuning key the correct twist. He would continue to sing as if nothing had happened.

During his performances, RD-B experienced a variety of mishaps: his suspenders would snap free, he would walk onto the stage with his shoe lace untied, or his fly would be open. A unique incident happened while he was singing in the Philippines during the latter days of World War II. (With just his guitar, RD-B was easy to move around in a Piper Cub, to entertain service men.) As he was singing, a moth flew into his mouth. There really was no choice: he swallowed it.

To RD-B, the main point was the song. Nothing—not even the singer--could be allowed to distract the listener away from the song.

Subject: RE: Richard Dyer-Bennet
From: Art Thieme
Date: 18 Sep 08 - 10:58 PM

What a fascinating thread this has become and is! Thanks to you all. As one who simply sang without ever knowing anything about that which you speak of here, it is all a revelation. I literally "followed" my guitar or banjo with my voice. I would play the chord or the individual note a short fraction of a second before I sang it. Either that, or I 'knew' from a chord what relative note I desired to get---so I just WENT AND GOT IT! (Hope that makes some sense.) My ten-note range got me a long way in the 40 years I sang folk songs. (Twelve notes on a good day.) Without my instruments to follow, I was lost.

Thanks to you all again.

Art Thieme

Subject: RE: Richard Dyer-Bennet
From: Charley Noble
Date: 18 Sep 08 - 10:03 PM

Edwin-

Not to worry. It's the details we never asked about because it did seem an awkward question.

I do have fond memories of stopping by the Dyer-Bennets in the early 1970's, on one of my periodic trips back and forth from Michigan to Maine, and being impressed how tuned in he was on all the issues we were protesting with regard to the Vietnam War. I had assumed he was only interested in 1000 year old folk songs.

Cheerily,
Charley Noble

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 18 Sep 08 - 09:45 PM

Charley,

RD-B didn't say anything about children from that marriage. I didn't ask either. That line about his marriage and his story about Pepper was all that he brought up. He did mention Pepper's daughter's name.

I hope I didn't offend anyone by bringing up that story. I might have since it seems it wasn't talked about.

Subject: RE: Richard Dyer-Bennet
From: Charley Noble
Date: 18 Sep 08 - 07:24 PM

We were oblivious growing up to our uncle's earlier marriage. Nice to finally get some details. Were there children from this marriage as well?

Charley Noble

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin T. Decenteceo
Date: 18 Sep 08 - 07:11 PM

RD-B and I would sometimes discuss philosophical topics. As a graduate student at that time, I was interested in the ideas of T. S. Kuhn, Michael Polanyi, and S. C. Pepper, all of whom influenced thinking in the sciences.

At one session I brought up the ideas of Pepper. His major work is World Hypotheses. Pepper argued that philosophical thinking can be grouped into world hypotheses or world views that are based on root metaphors such as the metaphor of the machine or the organism or the on-going event. These world views are very self-contained. Each one claims to be able to understand all if not most of the events in the world. Because the world views are very different and all-encompassing, you simply cannot say that one world view is better than another.

Pepper influenced thinking not only in science, but also in psychology, art, aesthetics, logic, ethics, general value theory, and metaphysics. Sometimes his ideas come up in discussions on post-modern thought. One author goes on to claim that Pepper should be considered one of the greatest philosophers of the 20th century. Pepper was also "a Renaissance man who made all knowledge his province, and he taught his readers to see their world with the same vast scope."

After a long discussion of Pepper's ideas, RD-B suddenly asked me: "Ed, are your referring to Stephen C. Pepper? Stephen Coburn Pepper?"

Puzzled, I said: "Yes."

"I was married to his daughter!"

Pepper taught at the University of California, Berkeley. RD-B studied at Berkeley. RD-B would come to Pepper with a question. Pepper would reply: "Dick, that is a two pipe-bowl question." He would proceed to light his pipe and lean back in his chair, prepared to discuss RD-B's question for the amount of time it would take to smoke two pipe bowls of tobacco.

RD-B would later be divorced from Pepper's daughter and then later he would meet Melvene Ipcar.

-0-

A student at Stony Brook asked RD-B: "Do you believe in marriage?"

RD-B replied: "Of course, I do. That's why I married again!"

Subject: RE: Richard Dyer-Bennet
From: GUEST,Don Firth (computer still in the shop)
Date: 14 Sep 08 - 01:29 PM

Thanks for the comments, Edwin. It sounds like the DVD and the CDs could be quite helpful.

I was about to ask how one could obtain them and how much they cost, but I note you've already answered that in your post of 28 Aug 08 - 02:26 a.m., above.

Don Firth

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin T. Decenteceo
Date: 14 Sep 08 - 10:23 AM

Here are my comments on the Cornelius Reid Project CDs and DVD.

This is a set of 5 CDs and a DVD. In his notes, Dr. Don Maxwell (Project Director) says: "There are excerpts from lessons demonstrating the use of exercises, the coaching of songs and arias, and Reid's own comments on how the principles he sets forth are put into practice. In one discussion Reid compares his ideas and theories with those of F. M. Alexander. The DVD includes portions of a vocal master class given in conjunction with the American Center for the Alexander Technique."

The voices in the set are all classically trained voices, that is, they are set to the vocal standards of the recital hall or to opera. There is one excerpt of a male singing an "alternative pop/rock song" (I had to ask my daughter what kind of song it was.) But it is presented as a pre-Reid song excerpt. In a subsequent excerpt the male sings an aria. There are male and female voices. The females are sopranos and mezzos; the males are tenors, baritones, and basses. (In Reid's view, these terms are about the size of a voice, not about the pitch range. Ideally, all voices should have a range of at least two-and-a-half octaves.)

The folksinger who tries to study these voices may have to be of one mind with those who say: To dance jazz dance, you need to train in classical ballet. To play folk or jazz guitar you need to study classic guitar technique. However, I think that as a general matter of "conditioning" the voice or "keeping the voice in shape," these exercises may still be useful, even if the singer uses a different vocal style.

The vocal exercises seem to repeat themselves. To use Reid vocal terminology, there are exercise for 1) isolating the chest register and head register, 2) strengthening the chest and the head register, and 3) joining the chest and head register. In the coaching sessions (involving arias), time is spent of the concept of "doing without doing."

The notes say, "The discs document gradual vocal development over extended periods of time as well as astonishing progress in as little as five days." That may be beside the point, however. The point is to know what particular exercise to use at a particular point in a voice lesson so that a problem in the voice at that time is solved. As Reid says in the DVD: "There is no lesson plan." Thus, the exercises do not simply repeat themselves; they are done at a particular point to achieve a specific vocal goal.

To a singer/teacher trained in Reid's methods or vocal concepts, the set may serve as a standard or quality check. But someone who is not familiar with Reid's methods and sounds may have difficulty seeing--or more correctly, hearing--the reason for the exercises. Reid's recorded comments ought to help BUT the sound of Reid's speaking voice is not often clear. (Perhaps the set was engineered to have the singing voice stand out.) I tried different CD/DVD players and different settings of whatever equalizer was available in my player (including a PC and a laptop) to try to make Reid's voice clear. I was not always successful. Sub-titles in the DVD would have been a great help. When Reid talks while the student is singing, his voice is not clear at all.

It is possible to "sing along" with the exercises. But one should not try to sound like the students doing the exercises. They sing opera or art song after all. But the particular vowel, the particular volume, the particular pattern (the arpeggio) could be followed. When the student gets into a range that is too high or too low, the listener may stop but join up again when the exercise is within his/her range. It would be helpful to listen to the set while at a piano or keyboard so that the listener knows what pitch Reid starts at, or more precisely, what pitch range Reid is working in. In Reid's system pitch is important because the head and chest register have their respective pitch ranges.

Don't worry too much about how you hold your body (Dyer-Bennet would have us sit down while doing vocal exercises). Don't worry about your breathing either.

Don't worry if you go off pitch. Don't even try to correct your pitch. When you are learning a new vocal adjustment your pitch may go wrong. This is fine; you are simply learning to use your muscles in a different way. That problem will correct itself. (A rule of thumb: when you are working the head register, your pitch may go sharp; when you are working the chest register, you pitch may go flat.) So, when you are "singing along" you don't always have to match the pitch of the singer. Once in a while, you'll make ugly sounds. That's fine, too. (There are some ugly sounds in the set.)

Also, while the throat or voice box should not jump about, neither should it be held down rigidly. Furthermore, the shape of the throat should not change as you move up or down or change consonant or vowel. Again, don't do this rigidly. Find a shape of the throat that you can maintain while changing pitch, intensity or vowel or consonant sound.

Above all, sing with joy. Dyer-Bennet would say: Even though you are only doing vocal exercises, you should always remember to sing.

After writing these last paragraphs I can see that the set would be helped by some brief notes on Reid's techniques. But no theoretical discussions, please. As a scientist once proposed (in order to solve scientific disputes): Don't listen to what I say; look at what I do. Reid says a lot of things in his books. This set of CDs and a DVD is Reid "doing."

Subject: RE: Richard Dyer-Bennet
From: Charley Noble
Date: 11 Sep 08 - 08:16 PM

Edwin-

Not a family story that was ever conveyed to us. Thanks for posting it.

Charley Noble

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 10 Sep 08 - 09:32 PM

Here's another story RD-B shared with me:

Richard Dyer-Bennet's father's name was originally Dyer. (A 1941 Time magazine article says that RD-B's father was related to a British baronet named Sir John Dyer.) RD-B's father had a very close friend whose family name was Bennet. This close friend was an only child and he had no children. He was concerned that the Bennet name would end when he died. For the sake of his close friend, RD-B's father went to court and had his name changed to Dyer-Bennet.

RD-B's father was a professional soldier, an officer. His unit took part in World War I. His unit was decimated. Only seven or eight men survived. Because of his war experience, RD-B's father gave up soldiering to become a farmer in Canada in 1919.

RD-B's father separated from his mother a few years later. (His mother took RD-B and his brother and moved to California in 1925.) Knowing what we know now about Post Traumatic Stress Disorder—it was known as "shell shock" then—it is likely that the trauma of war experienced by RD-B's father made it difficult for him to maintain his relationship with his wife and kids.

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 05 Sep 08 - 08:16 AM

RD-B was concerned about tone whether of the voice or of the guitar. (When I first saw his guitar--a Ramirez--I was surprised to see that it had a break in the neck about three inches from the body. The neck had been glued back together. But then again it is the body that determines the tone,not the neck.) When I first met him he had already had his major stroke. He could still play because "the muscles in my left hand still remember even though I can't feel anything." I suggested that he learn to play lefty so that his feeling right hand would be at the frets. "No," he replied, "It is the right hand that produces the tone."

"You must always play your guitar at A=440. It sounds best at that pitch. It was made to be played at that pitch, " he would also say."But," he continued,"you don't have to keep it at that pitch.You can always loosen the strings, " here he mimed loosening his guitar strings, and then he leaned back and stretched his legs, "and let yourself go and relax."

Subject: RE: Richard Dyer-Bennet
From: Barry Finn
Date: 04 Sep 08 - 10:49 PM

Charlie, your mother, after meeting her, I don't think was limited in anything that she put her hand or mind to. I'm not surprized that RDB credits several songs from your mother. I recall the night I sang a Georgia Sea Island shanty for her, it was a rare song & had it's origins in a slave song & after finishing she added a verse that I can't for the life of me find anywhere else.

Barry

Subject: RE: Richard Dyer-Bennet
From: Charley Noble
Date: 04 Sep 08 - 09:08 PM

Edwin and Don-

You are probably aware that some of us (if not many of us) were quite intimidated by the idea of singing before RDB. We thought he was perfect and frequently he was. When he wasn't he wasn't pleased.

However, he was also interested in what other singers were doing, whether they were perfect or not, and he was only judgmental about those who were commercially popular but were not singing as well as they might.

He credits my mother with several songs that he learned from her, and my mother while an avid singer of folk songs was quite limited in terms of how well she could sing.

Cheerily,
Charley Noble

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 04 Sep 08 - 08:40 PM

What did Dyer-Bennet think of his own voice? This is what he would say: "My voice is pretty good but it is not that good." Sometimes he would add: "I got away with murder."

Don-

You may want to start the octave jumps lower, say, G below C below middle C. You have difficulty at B below middle C, so on the octave jump if you have to break into a falsetto go ahead. Just be sure to keep the upper note soft. Don't squeeze the tone, use open "ahs."

To loosen up your larynx, move it up and down (without making a sound). It helps if you swallow. Kermit the Frog does this very well.

Subject: RE: Richard Dyer-Bennet
From: Don Firth
Date: 04 Sep 08 - 01:59 PM

Thanks, Edwin. I'll work on this and then I'll get back to you.

Don Firth

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 04 Sep 08 - 04:57 AM

Don-

Let's just go back to the question that started this particular series: How to sing in the higher ranges of the bass range, that is, to the F or G above middle C? I will try an analysis from the Reid perspective. Whether you buy it or not is up to you.

In your note of 27 Aug 08 you say you can go up to the B flat below middle C but above that its uncomfortable for you. In your note of 28 Aug 08 you say you can sing the G above middle C in falsetto.

There's something interesting going on here because you should be able to take your chest register up to the E above middle C (so Reid would say). Some questions in my head: Are you pulling your larynx down as you go up? Are you singing with a fixed or tight lanryngeal position all along your range (there should be some natural movement—but not much)? Are you singing in a voice too large for you?

You say you have a falsetto. (Let's leave aside questions of falsetto vs. head register; Reid would say they are the same. Let's take Reid for now.) How high can you take it: C or D or even E above C above middle C? We would have to make sure that you can sing it ("oo" vowel, soft, breathy) without bringing in the chest register (metallic, sharp edge). Can you sing this pure falsetto one note at a time down to F above middle C? Ok, back up again to C or D. Sing a falsetto "oo" vowel, then without changing the shape of the throat, change the vowel to an "ah." The same thing one note at a time down to the F above middle C. Now start again at high C from ""oo" to "ah" but now gradually crescendo on the "ah" without bringing in the chest. Keep the shape of the throat the same.

Now try doing the "oo" to "ah" with crescendo down to the D above middle C without bringing in the chest. It's ok if you can do this only until the F above middle C.

Now, let's go down to the A below C below middle C. On a medium soft "ah" take an octave jump to the A below middle C without changing the shape of the throat. The octave jump should be as soft as you can make it (no scooping). Instead of the octave jump "ah" you can sing "hah". It may or may not go into falsetto; just kept the higher A soft. If the higher A shifts to falsetto that's ok. Move up one note at a time, medium soft lower "ah" (firm chest sound, though) to soft higher "ah." The "ah" should be the same vowel sound at both ends. You can go up to the G below middle C. Then move the octave jumps downward. Then start over again on the falsetto side.

There's a logic, albeit Reid-ian, to these exercises. First you isolate the falsetto (high "oo"). Then you strengthen it along its range ("oo" down to F above middle C). Then you gradually bring in a little chest ("oo" to "ah"). Then bring in even more chest ("oo" to "ah" then crescendo on the "ah") but making sure the head predominates. Then you bring the chest and head together, making sure the chest doesn't overpower the head (octave jumps, medium soft bottom "ah" to soft octave "ah" moving up into head register range (above F above middle C). Note the basic tools of Reid: Vowel sound, pitch, and volume.

Subject: RE: Richard Dyer-Bennet
From: Don Firth
Date: 02 Sep 08 - 09:04 PM

There are no frets on the vocal folds to change their length, nor are there any reels or turnbuckles that one can control directly to change their tension, so the only way one can sing a particular pitch is to hear it clearly, either from an outside source or in one's "mind's ear," and then try to duplicate the sound with one's voice. This, of course, is the same way we learn to speak in the first place: hear, then imitate. Hopefully, the "semi-voluntary" muscles involved will make the desired adjustments and the tone produced will duplicate the desired pitch. Rather like shooting from the hip; at first you miss a lot, but accuracy improves with practice.

The same holds true for almost all aspects of the vocal mechanism. Both Edna Bianchi and the second voice teacher I studied with, George Hotchkiss Street (Pure and Easy Tone Production : Fundamental Principles of Singing; I didn't know at the time that he'd written any books, and I wish I could get my hands on a copy of this!) stressed that one cannot control the voice directly in the same way one can, say, flex one's biceps muscles, and any attempt to do so will invariably a) not work, and b) produce counterproductive tension. The only way one can get at it is indirectly, and this means that the teacher has to try to communicate with the pupil through metaphor and imagery. A lot of it on the part of both teacher and pupil is trial-and-error.

It's the choice of the metaphor/imagery that can be the stumbling block. An image that a teacher uses may quickly convey what the teacher is trying to get at to one pupil, but could sound physically impossible ("Sing from your stomach") or downright silly to a second pupil. Such images are, of necessity, a bit fuzzy around the edges.

Re: Placement. To convey the idea, Mrs. B. had me hum, and take note of the way I could feel the vibrations around my nose and forehead (the "mask"). Then she had me sing vowels preceded by nasal consonants—"m" and "n"—that produced the same sensations. So when Mrs. B. told me to place the tone in the mask, I knew what she meant and I could duplicate it. What my throat and surrounding muscles were doing, I don't know, but I know I had to keep my throat as relaxed as possible or the tone dropped out of the mask. She did keep telling me to smile as I sang, or at least, lift my upper lip above my teeth. I'm not sure, but assessing the sensations in my mouth and throat when I do this, I think it tends to open the throat and lift the soft palate, perhaps increasing the opening into the nasal passages.

She was quite emphatic, however, that when she referred to "nasal resonance" (the by-product of of "placing the voice" or "singing in the mask"), she did not mean that it should sound "nasal," or as she put it, "nosey."

If I place the tone in the mask, as she taught, I produce a singing tone. If I don't, I'm simply shouting. As I said above, I can feel the difference, and I can hear the difference, both directly (echoing back) and when I record and play back. And others can hear it too.

I know full well, of course, that my voice—my vocal mechanism—is in my throat, not in my "mask." It is the tone, which, by some trick of thought, affects those semi-voluntary muscles that allow it to go (or be "placed") in the mask.

As to falsetto and head voice being the same thing:

I can do an easy octave jump by singing a note in what I consider my "normal" voice and then popping it into falsetto—the same thing a person does when he yodels. In fact, with a little practice, I could probably yodel up a storm, but that's just not my thing! But my yodel-break is clean and definite, and there is a clear and distinct difference in quality between my normal voice and my falsetto.

I've seen photographs of the vocal folds (taken with a laryngoscope or similar device) singing in the various "registers," and there is a distinct difference between what happens in "normal" singing tones and falsetto. In falsetto, the folds clamp tight together on either end, leaving an oval opening about midway. Comparing what are identified as "head tones" with falsetto tones, there is a distinct difference between both the sound produced and the position of the folds.

And about everything I've heard or read about the voice, although often disagreeing about the nature or registers, what they consist of, and how many there are, agree that head voice and falsetto are two distinctly different things.

So at this point, I'm highly skeptical of Reid's contention that head voice and falsetto are the same thing. This would mean that on the many records I have of Richard Dyer-Bennet, and the times I have heard him in person, he is singing almost exclusively in falsetto. Granted, Dyer-Bennet's voice was not as powerful as most operatic tenors, but I have never heard the kind of power he could muster when he wanted to (for example, his recording of Lonesome Valley, Dyer-Bennet Records No. 1) coming out of someone singing in falsetto, nor have I ever heard a countertenor (which some folks claim Dyer-Bennet was, but having heard several and knowing two personally, I strenuously disagree) who had the power he did when he wanted to use it.

I also have problems with the idea that the break or transition between chest voice and head voice/falsetto occurs on or about E above middle C for both male and female voices. This would mean (according to Reid) that female singers, especially sopranos, sing almost exclusively in falsetto. When compared with the evidence of my own ears (Natalie Dusay, Renée Fleming, Cecilia Bartoli, Marilyn Horne), I find this very hard to accept.

But I'm open to being persuaded if the evidence is compelling enough.

Don Firth

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 01 Sep 08 - 10:48 PM

By all means be critical of all the theories of voice. As I said earlier, vocal terms, concepts, processes tend to vary from teacher to teacher, and from one school of voice to another. The main reason is that a lot of words in singing and the teaching of singing are metaphors.

The voice does not really go "up' or "down." Voices do not really differ in "size." Voices are not really "warm," "dark," "somber," "light," "heavy," "bright," or "velvety." These are all metaphors. The word "register" is taken from the vocabulary of the pipe organ. There are no "stops" by which the "registration" of the voice can be changed. The "chest" does not have a voice; neither does the "head." The diaphragm, though real, does not really "sing." (Actually, my teacher told me to sing from my b_lls.)   A sound cannot be "false"; it is a sound.

Metaphors give us a way of thinking about things. In using metaphors, we are like the hard sciences where there are "black holes," "electron clouds," and light may be thought of as "waves" or "particles."

Metaphors are helpful when we have a way of figuring out what they refer to or point to. That is easy enough when the thing the metaphor points to is out in the world for all to see or hear. But when the thing pointed to is inside our bodies it is hard to figure out what the metaphor is pointing to. Unfortunately, a lot of what happens in singing is inside our bodies (where in our bodies, depends on the school of singing). When we disagree about matters of the voice, we may really be disagreeing about the metaphors we are using; not about what the metaphor is pointing to. Whether or not we use a metaphor does not depend on what is "real", "correct," or "true." (Our use of a metaphor depends on whether it suits us.) These three words are about what the metaphor is referring to, not about the metaphor. The problem is we may not know exactly what we are referring to.

So, how to choose a voice teaching technique? Dyer-Bennet suggested two rules of thumb: a) your voice (actually your throat or vocal apparatus) should not hurt or be hoarse at the end of a session, b) after many sessions your range should increase or at least stay the same; your range should not decrease. I will add that the method must in same way make sense to you or at least feel comfortable to you. Of course, having a good teacher, one you get along with, helps. (When I first met my tai chi teacher he made sense to me and he was good. I have been with him for 25 years.)

Dyer-Bennet did not distinguish between power and placement. He distinguished between power (volume) and clarity. (Note that we can easily point to a loud voice or a clear voice. Placement happens inside the body so it's hard to point to.) In one discussion of projection, Dyer-Bennet slammed his hand down on the piano and said: "That is loud. It can be heard all the way to the back of the auditorium. But it is not clear." Then he sang a soft "ah." "That," he said, "is clear." He also said: "When a director tells an actor 'I can't hear you' he doesn't mean he can't hear the actor. He can hear the actor BUT he can't understand what the actor is saying." For Dyer-Bennet, projection was a matter of the clarity of one's sound. (In another RD-B story, someone told Andres Segovia: The sound of your guitar is small but it is far.)

Now we are somewhere: we need a voice technique that will give us a clear voice. But will we study the coordination of registers (a metaphor) or study voice placement (another metaphor)?

RD-B sang There's a Hole in the Bottom of the Sea. But he never sang There's a Hole in the Bucket. That was Harry Belafonte, I think. (Belafonte wanted to emulate RD-B but couldn't really master the guitar. Besides, he preferred to move around the stage.)

Subject: RE: Richard Dyer-Bennet
From: Don Firth
Date: 31 Aug 08 - 01:58 PM

Thanks for the information, Edwin. Much to think about.

I'm listening to singers of all kinds with more acute ears these last few days. My wife brought the two aforementioned books by Cornelius Reid home from the library yesterday. The Bel Canto book is a slim but highly informative volume and A Dictionary of Vocal Terminology : An Analysis is a BIG volume (8 ½ by 11 and an inch and a half thick—about 450 pages of fairly small print). Weighs a ton! I'm going to be doing some intense and extensive reading for awhile.

Also, I'm going to have to do a bit of fairly critical analysis of some of what Reid says that flies in the face of things I have been taught and that I know from experience do work. For example, on page 277 of the Dictionary, after a fairly long discussion, he states that "'Placement' is a concept without basis in fact" and "should be eliminated if training procedures are to be constructive." And at one point, he states that telling a singer to "place" the tone is as pointless as telling a violinist to put the tone of his instrument up against the ceiling.

But—I can do it. I can feel it. And I can hear it. More important, perhaps, is that when I do it, others can hear it. And I can hear whether or not other singers are doing it. Classical singers, almost universally. Folk and popular singers, some do, some don't. But it makes a big difference in both the quality of the tone and in projection: being able to sing, even fairly softly, and bounce the sound off the back wall of a sizable auditorium.

As I recall especially hearing him live, Richard Dyer-Bennet's placement was spot on, and even when he sang softly, his voice rang clearly through the whole concert hall. Not a function of power. A function of good placement.

Comments?

Don Firth

Subject: RE: Richard Dyer-Bennet
From: Charley Noble
Date: 31 Aug 08 - 09:39 AM

Edwin-

Take all the space you want. You're certainly making a major contribution to this forum.

Charley Noble

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 31 Aug 08 - 08:37 AM

Let me use the song by Gordon Bok to illustrate some ideas of Reid"s. Please understand that this is not a critique of the singer. Nor am I saying that what Bok is doing is vocally bad. As Dyer-Bennet said: You can do anything you want (vocally); just don't do it all the time. As an example he launched into a rasping Leadbelly song which rang with the sounds of a work gang's sledge hammers. (According to Dyer-Bennet fellow prisoners commented that if Huddie Ledbetter could sing that way while on a work gang he had to have a LeadBelly. LeadBelly's singing set the pace of the work. He was known to slow down the pace when a new guy joined them.)

I mentioned that Ed McCurdy would push his chest register in the lower range. To illustrate, in the song of Gordon's, I place in ALL CAPS some words where he pushes the chest register. (I couldn't get all the words down.)

        I"D LIKE to tell you the STORY, BOYS, about taking down(?)
          the drive.
        My foreman's name is BUSTER AND he also does RESIDE
        Near the banks…. MAINE.

The Kingston Trio did the same thing with:
        
        HANG DOWN your head TOM DOO-ley
        HANG DOWN your head AND CRY.

To repeat, I'm not saying that this is bad. But, Don, you want to develop your higher notes. To do that you have to get your head register working in coordination with your chest. Don't push your head register out of the way.

Uneven singing of the notes has another effect which is that the shape of the throat changes as the singer moves from note to note. This means that the registers (they are muscles, remember) have to keep adjusting with each change in the shape of the throat. For the sake of good register coordination, it is better to maintain the shape of the throat as you go from note to note. This is known as legato singing.

Gordon Bok also narrows the throat when he goes up to the G or A below middle C. Same rule. Keep the shape of the throat the same whether in the low or in the high range. This is not to say that you keep the shape of the throat that you have now. That will change as your voice improves. What it means is you need a shape of the throat that does not need to change as you move from chest register territory to head register and back down. You'll discover what this is. (Dyer-Bennet could sing an "ah" from the E below middle C to C above middle C and back down again without an audible break in the voice. If you can do this, you're in good shape, register coordination-wise.) Same with moving from vowel to vowel: no change in the shape of the throat.

I'll have my comments on the DVDs soon. By the way they are actually 5 CDs and a DVD. A word of warning: these CDs and DVD are things only a voice student or teacher would love.

Sorry if I am taking up to much space. Please let me know.

Subject: RE: Richard Dyer-Bennet
From: Stilly River Sage
Date: 30 Aug 08 - 12:20 PM

Edwin,

Don Firth has a marvelous voice. I can't parse out the technical aspects of it, but ever since I was a little kid, when Don was around to sing, I was there, glued to his performances.

This is more along the lines of a testimonial, not a critical analysis like you're able to do for Dyer-Bennet, but it's the quality and sound of his voice behind what you hope most singers have (the ability to carry a tune, sing clearly, etc.), along with such great guitar accompaniment, that makes it all work so beautifully.

SRS

Subject: RE: Richard Dyer-Bennet
From: dick greenhaus
Date: 30 Aug 08 - 12:08 PM

Just to point out that, even apart from his voice, RDB was, with very few exceptions, a brilliant musician and arranger. One of the giants.

Subject: RE: Richard Dyer-Bennet
From: Arkie
Date: 30 Aug 08 - 10:42 AM

In the time before folk music became an international rage, Richard Dyer-Bennet and Burl Ives provided the only audible access I had to folk songs. I was somewhat disappointed that Ives later turned to pop oriented music and grateful that Dyer-Bennet continued to sing traditional ballads and songs. I could never understand why other singers did not sing "The Vicar Of Bray".

This thread has been a wonderful, informative tribute to Mr. Dyer-Bennet and greatly appreciated here.

Subject: RE: Richard Dyer-Bennet
From: GUEST,Edwin Decenteceo
Date: 30 Aug 08 - 08:35 AM

Don-

I used to have an LP of Ed McCurdy singing bawdy songs. ("A minister's son," Dyer-Bennet noted when I mentioned the LP to him.) That was a long time ago, but I now have some idea of your voice. From what I recall, McCurdy had a tendency to push the chest register even in the low ranges. Pushing the chest register--producing a "manly" sound or trying to have a deep voice--can push away the head register. You may want to just maintain an even and steady flow of sound. By the way, Reid doesn't talk about "placing" the voice; he doesn't believe it can be placed.

You may not be able to extend your range right away when you practice your head register/falsetto. But you will feel the top of your voice (not the top of your range) get warmer and velvetier. You may even feel that your voice is bigger without having to exert as much effort; you can do more with less.

The quote from Dyer_Bennet isn't just about how he sang a song. I believe this is the man himself: Go to the heart of the matter and give it all you've got, all it deserves.