This book is a companion volume to the author’s earlier book, Sing On! Sing On! A guide to the Life-Long Enjoyment of the Voice (ECS Publications, Boston MA, 1992; reviewed in JOS 51, no.1 [Sept/Oct 1994]) Burtis directs the reader to the first book for detailed information about vocal technique and specific vocal problems. Vocalizing from the Ground Up! is primarily concerned with vocalises and diction, and is addressed to advanced students and teachers. The book includes two compact discs that provide aural models of all the exercises.

The text consists of twelve brief chapters, with none longer than twenty pages. In the first chapter, Burtis defines vocalization as a gathering of mind, body, breath, and, above all, energy. He reviews relaxation, posture, breath, and resonance in short chapters, while the longest chapters are devoted to vocalises, vowels and consonants. The vocal exercises cover the gamut of singing technique, from Messa di voce to fioratura, and from scale passages to large leaps.

In the diction chapters, Burtis proffers a brief explanation of the formation of each IPA sound. For Italian, German, and French sounds not found in English, native speakers recite examples on the accompanying discs. Diphthongs and triphthongs each merit a separate chapter. Finally there are chapters on how to learn a song and final thoughts from the author about singing and its study.

The writing is that of an active teacher who is accustomed to stating concepts in a clear, concise manner– and with a dollop of humor. Each chapter is titled with an adaptation of a popular song; for instance, ‘It don’t mean a thing if it ain’t got that ping’ heads the chapter on resonance. The laconic explanations are filled with statements such as ‘Use the breath, it’s no good tomorrow’, and other homespun dictums. The axioms succinctly encapsulate the author’s pedagogical principles; for example, ‘The more sound you release freely, the more sound you’ll have to sing with,’ and ‘Do not

push the voice…allow the energy to carry you…’ Burtis maintains that the ability to produce a comfortable nasal sound and well-focused hum is the beginning of vocal wisdom, and prefers the term ‘focus the voice’ to ‘place the voice’. In the diction section, Burtis uses terms like ‘plosive’ and ‘fricative’, but depends upon the reader to use the context to define the words. Nor are there any of the standard charts categorizing vowels and consonants by their formation. All this contributes to make this book seem less like a textbook and more like a manual- and that may lead a singer to consult it more frequently.

The chapter on how to learn a song would be helpful to beginning students, or to anyone how has never learned an effective procedure for tackling new repertoire. But perhaps the most useful discussion of this book is found in the last chapter where the author explains that vocalization is a process which allows a singer to discover comfortable singing. Every singer must determine which vocalises afford a sense of vocal freedom with the least effort. “There is no divine law of vocalization’, warns Burtis, “You must catalogue your technique as you explore your singing place’. Moreover, each voice is a unique instrument, and it is essential that teachers catalogue many ideas and images to prevent ‘cookie cutter’ pedagogy. A teacher, while needing to have an agenda for developing the best in each student, must approach that person as an individual, not as a slavish follower of a ‘method’.

The succinct nature of this book makes it very practical. The purpose for each vocalise is clearly stated, while the diction exercises are concise and aided immensely by the compact discs. Although there are some background noises on a few tracks, the overall quality of the recording is good. The book is compact, well-organized, and based on extensive experience; both students and pedagogues may find it useful.