Melton-Tom, One Voice, 3/E

“There are only a few key texts that are a “go to” for voice and movement training. Joan Melton’s One Voice is one such volume. This publication contains examples of original, fundamental and most importantly, effective exercises backed by scientific, anatomical truth. It cuts through the esoteric verbiage that is sometimes inherent in similar publications. It is a comprehensive volume of original exercises developed over a lifetime of significant practice and research. One Voice is a pioneering publication that examines the synergies between movement and voice, with a distinct focus on the de-compartmentalizing of singing and speaking. Melton is uniquely qualified to demonstrate how performers can keep the voice healthy while satisfying the many demands that are placed on it.” — Robert Lewis, Charles Sturt University, New South Wales, Australia

“I found ‘aha!’ and ‘of course!’ moments within each section. Clear, concise, challenging, and, most of all, welcoming to both the actor-singer as well as the singer-actor. One craft and one voice, no matter the origins of your training. Bravo!” — Kimberly Stephenson, St. Mary’s University

“This important book challenges and encourages a synthesis in singing, voice, speech, and movement pedagogy. Voice, singing, and movement trainers have agreed in theory for some time that more integrated methods of training are essential; however, in practice little progress has been made. Melton’s book is the first theoretical and technical manual outlining a comprehensive method of physical, vocal, and musical integration.” — Michael Lugering, author of The Expressive Actor, University of Nevada, Las Vegas

“Joan Melton has taken the lead in developing a vital new pedagogy for the teaching of theatre voice. Her conviction that the teaching of singing and speaking for musical theatre performers must derive from the same technical core is, in my view, the key to the future of vocal training for actors. Melton’s rich background as a composer, pianist, and classically trained singer have prepared her uniquely for the groundbreaking approach she has taken in her work.” — Mary Saunders-Barton, Penn State University

Part I: BASIC TECHNIQUE

1. The Foundation
Alignment / Breathing / Fitzmaurice-based Work

2. Vocal Anatomy and Physiology
Overview / Physical Systems: How They Work / Respiration / Phonation / Articulation / Sensation and Learning / Vocal Health and Longevity

3. Range, Resonance, and Articulation
Overview / Extending the Range / Exploring Resonance / Integrating Articulation

4. The Voice-Movement Relationship
Apparent Contradictions / Practical Solutions / Voice and the Triple Threat

Part II: PERFORMANCE DETAILS

5. Reading Music
Overview / Specific Requirements for the Actor / Guidelines for Preparing Material / Working with an Accompanist / Guidelines for Performance

6. Working with Text
Overview / Elements: Vowels and Consonants / Phrasing and Connected Speech, Spoken and Sung / Summary

7. Singing and Acting
Overview / A Formula That Works / Summary

Part III: ADDITIONAL PERSPECTIVES

8. Related Research
Overview / Formal Studies / Practical Explorations / Summary

9. Special Considerations
Overcoming Fears about Singing / Extending Kinesthetic Awareness / Singing as a Diagnostic Tool

10. The Whole Voice
Overview / One Technical Core / Expanding the Vocal Parameters / Summary