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http://www.amazon.com/What-Happened-Great-Singing-ebook/dp/B002Y26XPS/ref=sr_1_4?ie=UTF8&s=books&qid=1259681466&sr=8-4

"WHAT EVER HAPPENED TO GREAT SINGING?"

PRESS RELEASE

AVAILABLE AUGUST 15TH ON AMAZON.COM

¨WHAT EVER HAPPENED TO GREAT SINGING¨

ITS TIME FOR:

REAL ANSWERS!

REAL TECHNIQUE!

REAL TRUTH!

by the Author of¨

The Voice: A Spiritual Approach to Singing, Speaking and Communicating

Edition 1 & 2 and the “Revealed Version”.

Miriam Jaskierowicz Arman

This Book Openly Challenges the World of Vocal Arts!

This is the definitive revelation of the greatest secrets of Bel Canto Vocal Technique which everyone has been waiting for. In the three previous editions of her books:¨The Voice- A Spiritual Approach to Singing, Speaking and Communicating¨,Miriam Jaskierowicz Arman, the originator of Giro-Vocal-Motion Technique, has held back on accusations; but in this book she ACCUSES and publishes important original letters/correspondence between herself and major institutions, as well as those of renown personalities who have acknowledged her work for years.

Important testimonials from individuals, who have realized extraordinarily positive changes in their voices, without dreaded and unecessary operations and outdated therapies and in most cases contrary to doctors indication, are part of the explosive expose´.Her motives are clear - She is not looking to sell books. ¨Do not buy this book UNLESS¨ seriously outlines the conditions. What she does want to accomplish is a Change in the world of Vocal Production in every genre - whether in singing or in speaking - and stop the ruination of Vocal Instruments by ignorance and the sheer incompetence by the so-called experts in various associated fields.

An uncompromised instrument under all circumstances is what moves her to reveal the incredible secrets of Enrico Caruso, the greatest Voice of all times. She dares to ACCUSE Maria Callas, La Divina, considered the most outstanding Soprano of the century, of destroying generations of singers - and she PROVES her accusations with Callas´own words and personal explanations. This book is revolutionary in all aspects and confronts the teachers, the singers, the experts, the impressarios, the institutions, the business of Voice on all levels. She Challenges the World and she is ready to go anywhere, anytime, to prove her methodology.

Miriam Jaskierowicz Arman is not the product of a conventional academic education, but entirely self-taught. She neither pretends to be a doctor, nor a speech-therapist, but she is a Vocal - Reconstructionist of the highest caliber and unquestionable professionalism. She clearly recounts the spiritual origins of her learning, how it bagan and why and the path she chose. She does not pretend anything, everything is defined and clarified - she puts forth HER thirty years of experience and shares her personal story uninhibitedly. Nothing in this book is hype, everything is factually and logically demonstrated.

For more information, please visit http://www.musicvisionsintl.org/

U TUBE AND MY SPACE MASTER CLASS TRANSCRIPT

A few weeks ago I received an email from a viewer of the master class.

She, believe it or not, transcribed all 18 segments and is available either on CD or in PDF form.

I have approved her work and now anyone can have the actual transcript.

Here is the email address of Alexia.

For all details please contact her directly - she really did a great job.

masterclasstranscript@rocketmail.com

WHAT HAPPENED TO WHITNEY HOUSTON???

I cannot tell you how upset I am...not only because of what happened, but because I have tried for years to get a contact to her to take her out of this vocal mess she has been in, but have had no luck gtting to her.
What a great instrument, what a talent. The best news is, that it´s really not over, it could be just the bginning and a real come back IF she would let me teach her.

If there is anyone out there who can help her and me get together, it would be a favor to the world because she is a great artist and has so much yet to give....but not the way things are.

A total vocal change has to be made to make that happen - but nothing is lost!!! Everything is STILL available...NOW - !!!

THE PRESS RELEASE HITS THE WORLD OCT. 1

FOR IMMEDIATE RELEASE:

Renowned international vocal expert reveals lost secrets of Bel Canto singing technique

What Ever Happened to Great Singing? by Miriam Jaskierowicz Arman confronts institutions, organizations, voice teachers and vocal experts whom she feels will have a negative influence on generations of vocalists to come .

NEW YORK – What Ever Happened To Great Singing? by Miriam Jaskierowicz Arman seeks to bring back what she considers the greatness of vocal arts by teaching what she feels are the necessary skills and knowledge to build voices.

Arman maintains that the art of Bel Canto - literally meaning “beautiful singing” - is lost today, and that too many vocal coaches are harming their students’ voices by teaching what she believes are destructive techniques. What Ever Happened to Great Singing? seeks to explain in great detail the Giro-Vocal-Motion-Technique taught by Arman to maximize seamless, beautiful sound within the vocal line.

Using vocal history greats as examples, Arman details her steps to technically achieve proficiency in every genre of vocal production. The book includes correspondence, which Arman asserts is previously unpublished, with international organizations, doctors, musical celebrities and voice teachers who support her teaching technique and life’s work in the field. Her personal drawings are also used to visually outline the technical aspects of her methodology.

Arman offers more than 25 years of experience as a vocal reconstructionist and innovator in vocal pedagogy. The Giro-Vocal-Motion Technique is the foundation of her teachings and she maintains that technique and spirituality must combine to create a homogenized vocal instrument.

What Ever Happened To Great Singing? is available for sale online at Amazon.com, BookSurge.com and through additional wholesale and retail channels worldwide.

About the Author
Miriam Jaskierowicz Arman has lived and taught in the U.S., Italy, Israel, Hungary, Switzerland, Ukraine, Russia and more. She is also the author of the international best-seller on vocal technique, The Voice: A Spiritual Approach to Singing, Speaking and Communicating.

MEDIA CONTACT:
Miriam Jaskierowicz Arman
Email: musicvisions@aol.com
Phone: (305) 508-4921
Web: www.musicvisionsintl.org


REVIEW COPIES AND INTERVIEWS AVAILABLE
###

It's Working!

Subject:
It's working ~
Date:5/15/2009 7:58:05 A.M. Pacific Daylight Time
From:janeandjack1@comcast.net

Dr. Arman ~

Just a note ...in the past 10 days, I've read and reread....many times, the books...it is a ritual to spend at least an hour a day with it every day...and
of, course, spoon and egg and book travel with me into the studio.

My heart and mind are full...but so many alignments.
I have 'broadcasted' with email to all my networks...including many voalists/performers, vocal teachers, college produers, Rabbis, etc....each with their own significant networks....and told them to buy your book...do not pass go...just go buy the book..haha!

I have 4 singing engagements coming up within the next 30 days...and I
will probably have some kind of recording from one of them...and for fun of it, will send you a copy...if not, I'll just a copy of a recording ...before and after...every day I work with it, play with it...there are new deepenings, expansions...although there was a significant change even on day 1.

I am so grateful for the drawings in the book as well...I find if I forget any piece of it, and I refer to the drawings, there is some 'energy' there that
causes everything to click again.

The most significant thing for me is this....because I had never had this spelled out before...and all the energy inside didn't have a focal point,
I would get incredible nerves whenever I sang. Now...I'm finding that
the anchor is that I know where to go....to start...and if I lose my way in a phrase...my mind has a path I can go back to to get on track.

I do find that there seems to be an endless cathedral of colors, resonance, etc. whenever I am in the right place...and I ...how to put this...it gets so overwhelming for me...the energy so intense...that I can only be with it
in short periods of time at any one time...it's like plugging into 2,000 volts of electricity ~ my only passion is that I somehow can be a conduit when I sing so people can feel, on a visceral level, this energy of connection.

I think that all the body work, etc. I've done will be extremely instrumental in helping me assimilate, and play with the energy that seems to be released when I move into the giro.

Grateful ~ Jane Bakken

p.s. I also work with authors and publishers in marketing...and I want to
commend you on doing the You Tube Master Class because I believe that will sell a great deal of books for you...just from me, one person, by seeing that, I have probably increased your exposure by several thousand in a few weeks...so well worth the 'give away'.

Published letters from the book

From: Stephen Jackson Subject: Praise, NCR, and Teaching (two questions and some comments!)To: musicvisions@aol.comDate: Tuesday, August 5, 2008, 2:26 AM
Dear Ms. Arman,

First, I must say that I cannot help but think that divine providence brought me to your information! I have been many things in this life, and music has pulled me back over and over again relentlessly until I gave over my will to use the gifts we are given at creation. I am 33 years old, and a baritone (as well as a composer): I was a mediocre (at best) singer for quite a long time. Because I have always felt an intense connection to the text and emotional content of the music I perform, I've been given many performance opportunities that I wouldn't have ever gotten based on the abilities of my voice alone. I did absolutely everything wrong for a number of years, and finally had the fortune to have a few small pieces start to click into place in 2000 and 2001… I don't want to bore you with a long history as I know that you are very busy and must have time to recharge your own energy and vitality, but your works have touched my life in so many important ways.

I was asked to start teaching voice in 2003 by a small commercial studio that was familiar with my performance resume and temperament. I have been blessed with great patience and a strong belief that ANYONE who loves music and is willing to put their heart, soul, mind and time into the pursuit will come out the other side with a healthy and facile instrument. I had had at least 7 different voice teachers who ranged from complete lunatics to mediocre pianists with little to no knowledge of the vocal mechanism. Struggling through my own difficulties with the voice gave me insight into what many of my students felt (and feel) as they battle the many issues facing singers today. I have read voraciously and sought out as much information on practical and powerful vocal methods as I could with some good success over the years, but NOTHING prepared me for encountering your book! (then a bit later the First Lesson CD)

So many of the pieces clicked FIRMLY into place and the overall picture of what so many people had tried unsuccessfully to lead me to becomes more and more clear as I apply your ideas and technical skills to myself and my students. I am preparing several Opera scenes for a production in a few months that I was dreading until recently, and was recently cast as Olin Blitch in Susanna for spring of 2009. I feel as though you've given me back my own voice instead of the constructed and manipulated sound that I had been encouraged to create for so many years. I cannot thank you enough for the beautiful work you have done and continue to do for the world.

The questions I have are as follows -

The ncr.net website is no longer functional, but I found several other resources about NCR on-line. However, none of them speak specifically about the voice. I am very interested in knowing more about what happens in NCR, and what results your students have achieved. There are no NCR specialists near me, and my current budget will not support visiting those closest to me for some time, but I would still like to know more…

My 2nd question involves something "odd" happening to one of my young sopranos the deeper we go into your technique. She is 18, with what had been seemingly moving toward a light lyric or even soubrette sound…within the last several months however, the color, size, and intensity of the voice have grown almost exponentially to the point that I seriously thing she may be on the way to becoming a young full dramatic soprano!!

When she places everything behind the eyes and creates space the way you specify, she gets dizzy, dry eyed, and even slightly faint as the level of resonance increases. The sound is glorious and free without force or strain, but she is concerned about the physical sensations she is experiencing. I recommended that she accept the new sensations as a "check list" that she is placing the voice correctly, but I wanted your advice here. I truly believe that she is doing everything "right" so far, and want to encourage her continued progress, but she is frightened by how foreign some of these feelings are.

Respectfully yours,
Stephen Jackson
Desert Moon Academy of the Arts
El Paso, Texas



[I thought you might find this letter interesting from a number of points of view so I decided to share it. As you continue on, the answers to all questions raised here will become perfectly clear].

The Chest Voice - The Out -and Out Destruction of Great Singing

I am adding this discussion to the book at this time because with every student, somewhere down the line, this conversation surfaces and I am sure, if it comes into my studio, it similarly exists in the world of singing.

To my way of thinking, the concept of “chest Voice” is one of the major causes to which I attribute the destruction of extraordinary singing in any genre. As I mentioned before, great singing is dependent on flawless technique and an instrument that is willing and workable. Most of all, great singing depends on the ability of the singer to follow a logical thinking process: in our case, the process that I have put forth from the very beginning – NO THROAT!

Anyone wishing to use "chest Voice" had better stop here. Please do not waste your time going any further. Forget everything you have read up until now because the use of "chest Voice" simply does not follow a logical progression of this work.

A few questions to start to put things into perspective:

Which part of the vocal instrument is in the chest? If you answer the lungs, wrong…

Is the chest not attached to the Throat?

Have we not from the beginning established that the Throat and the use of it is completely out of the question?

How much real Air can you get into the chest that will eventually help you "push out" Sound?

Does chest Air arrive in/at the Giro? If so, how?

When you create/make "chest Voice", how do you bring it out? The Jaw, the mouth? Lifting of the Tongue, dropping the Soft Palate? etc., etc., etc.

I am sure you follow my line of thinking.

Now for the answers - let me be very specific:

For me, there is absolutely no compromise on this conversation.

When the Giro is in use, and I hope that by now you understand how to use it, the production of Sound, any Sound, high or low, is inside the Giro, inside the turn of the Voice. The Giro has, like any circle (360 degrees), a top, middle and a bottom (contrary to the people who talk about registers - a head-Voice, middle- and a chest Voice).

As we know, the top of the Giro is the top of the skull, the middle is around canals 5 and 6, at the bridge of the nose, and the bottom of the Giro, is sitting almost on top the Soft Palate, right above the Bone of Life (Atlas).

Since the Air, which creates Vowel Sounds, moves upward and backward, and since we all know that Sounds move on Air, all Sounds are moving only in one direction, upward and backward. The fact that each Sound moves over the top of the head, through the Third Eye toward the lips and thus liberates the Air to form the next Sound is due to the Intention of the Word and the slight movement of lips, with the help of the teeth and the Tongue.

The positioning for speaking and for singing is the same, always.

The Brain, and only the Brain, knows exactly where each Sound is, where it has to be placed, and where inside the Giro it fits. Knowing the music and word combination will allow the Sound to be "positioned" into the proper space inside the Giro without your "personal physical" intervention. Sound movement is primarily mental, as is just about anything that goes on in the body when you come down to it. Without the master computer, there is no functioning of "anything."

It is of the utmost importance that you trust your technical knowledge, because if you do not, you will invariably have the great need to move low Sounds from the bottom of the Giro below the Soft Palate, which then does not remain steady and does not stay up. The Throat then immediately must push forward, thus taxing the instrument needlessly. The Sound "created" in the mouth, the Throat or any place other than the Giro, is different in vibration and color and seems foreign to the rest of the Voice.

The smooth line is gone, the flow is gone, the ease of the Giro is gone…very possibly the next line will begin where the last ended – in the Throat.
The Air which opens the Throat and moves into the diaphragm (simultaneous intake of Air in the final position through the pupils), fills the entire Air column and creates support, not Sound movement.

The fact that the lungs are attached to that “Air column” is really of no consequence to us. They (the lungs) have a job to do, but nothing that is of great importance to us here or anything that we can really control physically. Contraction of the lungs to get Air to move Sound is hardly possible, even though most teachers will tell you to expand the chest, the back, the ribs etc. The old adage "a great set of lungs" does not hold true…it never has. For lack of proper explanation and supposed “logical thinking,” this concept, as well as others was created. That is not to say that the lungs do not have a part in the 'breathing apparatus (I am not that silly), but that their work is passive, whereas the work of the Giro is active.

Lungs do not provide positioning, the Giro does.

The Throat does not provide ease and perfect liberation of the instrument, the Giro does.

The Throat does not allow the Sound to circulate with roundness and flow, the Giro does…

The Jaw pulls on the Throat muscles and constricts the easy flow of Air, the Giro does not…

The Giro gives you endless possibility and potential for height, depth, coloration and width of Sound; the Throat will ultimately give up. The vocal cords cannot take the constant onslaught of Air; a wobble, soreness, and lack of Air are the results. Usually the height of the Sound goes first, then perhaps the bottom - maybe the other way around, depending on the instrument- - but slowly and inevitable, the rest of the Sounds/Voice/production/ease/beauty, etc., fall by the wayside.

We have learned that our SOURCE for everything we need concerning Sound is in the Giro and the Giro is in the head, not in the Throat. If you count on the chest Air for movement of Sound, you must, and I repeat, you must push forward in order to get the Sound to come out through the Throat and the mouth and that means that you are pressing/pushing against the instrument and using the muscles of the Throat, taxing the instrument.

Instead of allowing the apparatus to be free and relaxed to produce the Sounds you desire effortlessly, you are actually maneuvering, modulating manipulating, controlling, and influencing the instrument negatively to do what you want, not what your thoughts (music, Sounds, etc.,) are directing it to do naturally. If this occurs, everything I have tried to teach you is thrown out the window.

You might as well go right back to taking your breath into the mouth down the Throat, making your Vowel Sounds in the mouth and pushing the Air through the cords to create Sound. Fine with me, it is your instrument, the only one you will ever have, your choice.

The mouth is a resonator, the chest is as well and so is every single cavity in our bodies. When you sing correctly, everything in your body vibrates the Sounds. I once read somewhere that a doctor took a stethoscope while Caruso was singing and no matter where on his body he placed it, he heard vibrating Sounds.
There is no question that the entire physical structure is involved in vocal production, the question is only to what degree.

The Throat, without a doubt, has an incredible job to do since it houses the instrument; and the lungs and the Air column are all part of the great support system needed by the Soft Palate and the Giro to keep the Voice (Vowel Sounds) up. The great singers of the past worked the instrument naturally and, upon being questioned if they used chest Voice, a resounding NO was the answer. Others, who considered themselves more "profound in knowledge," searched for explanations and figured that if the Sound was low and deep it "must come from the chest and must be produced there.” Thus, unfortunately, was this verbiage coined, which confused and still confuses the serious student – a pity, but true.

Of course, classical singers, who have always been adored as the vocal elite, have influenced the rest of the world and certain concepts, right or wrong, were therefore accepted, established, and perpetrated. Others have refused vehemently the mere thought that they defaulted and used the chest; many others have tried to explain what they do in terms that “mere mortals” can understand, yet very few have been able to translate what they accomplish into laymen's language. The media and the critics, doctors and "experts" have added their two cents and thus have managed to make everyone believe that the 'chest' is it.

Having said this, I am here to take the myth of "chest" out of the Voice and put low notes/high notes, all notes and voices into an easy to understand and natural place, so that that, which always existed, but has been hidden under layers of … (please fill in the blanks --), will become available once again and give you the joy and satisfaction you deserve, without destroying the instrument.

This book, in all its aspects, would never be written if I subscribed to those concepts. I have proven a thousand times over that Sounds, especially low and deep ones, do not need the chest under any circumstances. They are easily and beautifully executed by allowing the Air and Vowel Sound the natural pull back and up inside the Giro.

The answer to this genuine problem is that it takes real work, work in understanding and thinking, and work in being able to produce physically what the mind perceives. That takes time and effort and a lot of willpower, character to stand against the pack and ultimately trust in what we are doing. Attaching to the SOURCE AIR, moving inside that space and allowing the mind to create its perceptions of Sound and Vowel and word combinations without molesting the instrument, is not an easy feat, but very well worth the effort.

There are few singers today who are willing to put in what it takes and there are fewer teachers who know how to teach this - hence the lack of true greatness.

Here I challenge any singer, any teacher: Come and learn the way the Giro works and you will never have a need for creating and designing chest Sounds again.

Don't believe me? Give me a Voice that is open, will learn and listen - I will change your mind forever.

THE BACK PAGE OF THE BOOK and Comments

I CHALLENGE THE WORLD OF VOCAL ARTS AS A WHOLE!

I OPENLY DISPUTE the system of teaching voice & I CONFRONT THE JUDGES!!I OPPOSE AND DEFY the Institutions and the powers at BE! I dare to reveal the Secrets of the 'Greatest Singer' Ever – I WILL CHANGE YOUR LIFE!! Your personal success is imperative.
I teach The Voice!!!.....


If you are searching for
Real Technique,
Real Answers &
Real Truth about the voice and vocal production, than "WHAT EVER HAPPENED TO GREAT SINGING" is right for YOU!

Be ready to hear things that you never fathomed would EVER be said publically by anyone.


If you are open to any of this, BUY IT! If not, keep your money and remain WHO you are.


The world is stuck in " Idol Wotrship.

What would have been totally unacceptable vocal performance 30 years ago is norm today. The real voices are lost under a heap of institutionalized wrong technique which is being taught and perpetrated. Voice teachers and Vocal Coaches. Speech pathologists, Ear Nose and Throat Specialists are harming our instruments. The teaching techniques out there are destroying voices after a short bloom – the combination of jet age mentality, bad management and vocal ignorance rob the world of the Vocal Greatness.
Where are the great voices of today? What happened to singers being household words based upon their voices rather than their scandal sheets? Who is demanding that Truth be told and great singing be once again instituted – I am! -After almost 30 years of fixing vocal ‘garbage’, left behind by teachers from all over the world, I have the right to stand up and refuse for this to go on any longer.

Maria Callas, the greatest soprano in the history of opera, finished her career at 40. No one could help her put back the glory of her instrument - does that tell you something? She had lots of money and ‘friends’ when she was on top, when she lost her voice, she was alone.
Caruso, the greatest Tenor of all time had vocal secrets which were not written in any of his personal accounts or published biographies that I encountered. -I found truth and the vindication of my own work in an obscure article written in a Metropolitan Opera Magazine in 1975, accompanying a Caruso Record Collection. I have been teaching this secret without knowing it for many years, now I share it with the world!

This book is as much an expose’ of correspondence between me and institutions as it is a testimonials by people who have saved their voices by using this teaching. I am angry at the destruction perpetrated by people who are looking for a “buck” instead of understanding what is really going on. I am fed up at watching voices being ‘struck out’ instead of being cultivated, I challenge the system. Bring me a voice that you cannot fix. I will tell you why you can’t fix it and ‘reconstruct’ it myself!!!

The Voice and I are in pursuit of setting the record straight and at the risk of opening a can of worms, I am intent on creating a new standard of Truth and Excellence in teaching and of course singing.

What I teach, how I teach, where this teaching comes from and what it ultimately achieves, is based upon a deep level of knowledge which sources in time of Second Temple. I bare the truth to the technical secrets of the voices and which for some inexplicable reason have been imparted onto me.

I am here to share that which works at any age or stage of vocal deterioration and results in a healthy instrument producing extraordinary sound…
I wrote this book to break down the myths and return to a sensible approach which makes the system work for you instead of destroy you.

Why has no one ‘what matters’ listened in the past? Good question - perhaps the published correspondence will provide an answer. To me basic answer is : It is too easy and so natural .Ultimately it really does not make a great deal of money. Surgeries and Botox injections ( you read right) are much more profitable.

One thing is for certain – the time has come to have this information reach the world. This is not only for singers, but parents whose children who are suffering from vocal stress at early ages and are sent to their speech pathologists in grammar school with little tangible results; tone deaf people who think they are, but really are not –– speech pathologists, ENT’s, vocal coaches and so called voice specialists who have degrees from the most prestigious universities and medical schools and can’t do anything else but operate… in short, anyone who uses his Voice needs this information and that includes us all.

Here are concrete answers to complex questions which work with and for the body and not against it. The goal here is : To speak and sing effortlessly for a life time.

The Secret of the Voice –“ Dare to be Extraordinary” by not following the pack!
Here for the first time is Real Technique, Real Answers, Real Truth and complete honesty about what concerns all of us: Being able to speak and sing effortlessly for a life time.

Jim Parker - MY student, my friend - His Credo - He is certainly singing in the Healvenly Academy now!

Hello from South America

Well, dear friends,

After some months of absence, here I am again....living in South America, loving the peace and quiet and the work which of course has to continue here - now in Spanish as well. This place is is a source of joy for me and real light is available here - I might mention oxygen as well and for the first time in a very long time, I am feeling physically well again.

The new book "WHAT EVER HAPPENED TO GREAT SINGING" is finally finished and is going to the publisher on Tuesday Feb. 10. 2009 G-d willing. I am told that y the end of April itr should be available worldwide on Amazon.com, who will also be the publisher this time.

This is a book that I am going to share here in various segments, because I think it is incredibly important - there are sections that should be made public to singers who might not be buying the book, but who hare interested and perhaps this will perk up their ears. Every week or so, I will add something and if you want to write to me, you can either do so on the blog, or send me an email to musicvisions@aol.com.

As always, I am looking forward to your comments and thoughts. This how the book begins:


PLEASE DO NOT BUY THIS BOOK:

Unless you seriously wish to change your life as a Singer,

Unless you are ready to throw your old ideas and notions out the window, because you know they have not served your instrument to achieve its potential…

Unless you decide to study page by page and not skip anything and give this real serious consideration.
Every page is important in its own way. Nothing in this book can be skipped-if you do, vital connective information will be lost.
SPEED READING DOES NOT APPLY HERE!!!

*** Absolutely do not buy this book, Unless you have a teacher who supports you IN THIS JOURNEY.

It would be counterproductive to work along our guidelines and then to go to someone who is not supportive of you or has no clue about this work. Your brain/mind/body would be confused and the exact opposite of what we want, would be achieved - that is not what this work is all about.

Unfortunately, most teachers are totally unfamiliar with this methodology. If you find one, please let me know.


This Book Does Not Create Voices, Only G-D Can Do That.

This Work Takes An Existing Instrument And Indicates The Way To Bring It To Its Fullest Potential. If You Are Willing To Do The Work, I Will Teach You.

Please, Do Not Think That You Will Be A Star Because You Are Following These Directions.
Having A Voice, Even A Great Instrument, Does Not Guarantee Anything. Having A Great Instrument Is Obviously A Plus, But Many Instruments, Which Naturally Are Not So ‘Great’, Have Made Wonderful Careers Because Of The Personality, Discipline And Loyalty Of The Singer.

It Takes Work, Perseverance, Devotion And The Understanding, Commitment And Trust To Follow These Guidelines.
I Hear Voices, I Hear Potential, I Express That…But That And Five Cents Will Get You Nowhere Unless Everything Else Works Together.

I Do Not Make Stars; But If You Have Star Quality In All Necessary Areas And You Are Willing To Put Your Ego Aside And Learn, Than Go For It.
Nothing Will Be Achieved Unless You Keep Up Your End Of The Bargain…. Ultimately If You do not Make It, You Have Only To Take Yourself To Task…Don’t Come Accusing Me – You are Braking Up The Wrong Tree!

Please consider carefully what you are doing. You only have ONE instrument. I am not interested in selling books; I want to make a real difference in your life and in your Voice.