Discover Your Voice
By Oren Brown
Singular Publishing Group, Inc.;
San Diego/London 1996;
Fourth edition; Jan. 1999; 286 pages.
Despite its novitiate-sounding title, Discover Your Voice, the new book by noted voice teacher Oren Brown is, rather, a widely divergent how-to book for singers and pedagogues of all levels. It encompasses an encyclopedic breadth of the countless aspects involved in developing one’s vocal technique. Having worked extensively to rehabilitate vocal ailments of non-singers in conjunction with a vocal therapist, Mr. Brown is among the pioneers in developing a more scientific approach than was previously available to vocal pedagogues. With the aid of instruments such as the laryngeal mirror, Mr. Brown was able to observe firsthand the vocal mechanism in various stages of health, and he seemed to have developed a sound vocal technique based on these findings, as evidenced by the success of his voice studio. However, he never subscribes to the idea of vocal technique being solely a matter of strict science, always contrasting a more technical essay with chapters such as the mysteriously titled “Enigmas.”
The overall tone seems to present a more generalist point of view as compared to the writings of the author’s contemporaries such as Frederick Hüsler and William Vennard, from whose landmark publication, Singing: The Mechanism and Tehnic. Mr. Brown frequently quotes. Although it is impossible to fully explain subjects such as “Working with your Audience” and “Understanding the Composer’s Intent” in the roughly one-page descriptions they are allotted, Mr. Brown sets down a good review of the basic elements. He offers disclaimers throughout the book explaining that it is only through experience, trial and error, and working with a knowledgeable vocal teacher that all these aspects can be thoroughly explored.
The CD that accompanies the book is most useful as a demonstration of healthy vocal warm-ups progressing to more complicated coloratura exercises rather than as a hands-on tool to vocal development, as is noted at the beginning of the CD, charmingly narrated by Mr. Brown. One senses an overwhelming desire on the part of the author to impart the knowledge he has gained over a lifetime of teaching voice. Mr. Brown even doles out vaguely Freudian advice such as how to deal with a male singer whose voice has not changed, even long after puberty, “(Which) often happens in families where there is a dominant mother and weak father. Mother wants to keep her darling boy around as long as possible.”
To be certain, the strength of the book lies in Mr. Brown’s down-to-earth descriptions of the more challenging aspects of learning voice, specifically the language of physics and physiology. There is a wealth of excellent anatomical and scientific illustrations that support Brown’s findings, yet others, like how to execute a diphthong drawn on a sketch of a pig are downright silly, but nevertheless effective. He seems to subscribe to the “keep it simple” platform in instances like these, which can be a welcome oasis for the sensory overloaded singer. It is also a relief to witness his openness to controversial topics such as the idea that popular singing can be completely healthy in its own right. (In Mr. Brown’s estimation, popular singing physically differs from the Western Classical tradition only in the position of the larynx and the subsequent aesthetic derived from this shift.) Again, his populist, well-balanced view is mostly refreshing, even though one senses he may be trying to be all things to all singers. In fact, not even halfway through the book, the author states that among his goals from the preceding chapters are: Discover your own voice and its potential range, size, and quality; Condition your voice so that it responds automatically and consistently on demand; Sing with an effortless legato line; Execute coloratura; Be your own teacher. These are lofty objectives, even with disclaimers, but one cannot fault the author for leaving unmentioned any topic related to singing.
It is always beneficial to remain updated with the latest information available to one’s profession, passion, or hobby. Brown appears endlessly fascinated by the vocal mechanism, teaching, and the wellbeing and vocal health of singers at all levels of accomplishment. For these reasons especially, and for the clear manner in which the author imparts his obvious expertise, the book can benefit anyone interested in any aspect of singing. Whether you are a rank beginner looking for clues as to how to start a program of study, or a more seasoned singer or pedagogue needing a refresher course and motivation when things feel stale, Mr. Brown’s book can supply a fresh perspective. Not just a fresh perspective, but one that comes from a person who has achieved great success by employing some of the methods outlined here.
