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A Friday surprise

Some days one opens Facebook to find nothing but happiness.

That was today.

Brian Parrish is choral director at Parkway West High School in Saint Louis County.  I teach three of his choral students in my private studio.  Two of these sing in the select jazz choir, which dropped a YouTube video this week.

I’m so glad to see them singing, and to know that our work together has been part of their progress, and to know that Mr. Parrish is pleased with the work too!

But to ice the cake: the chart they are singing is arranged by Kerry Marsh.  Kerry and I sang together at the University of Kansas when I was working on my doctorate and he was doing his undergraduate degree.  I’ve marveled at his strength-to-strength career.  He’s now one of the top vocal jazz arrangers in the country.  And to think that I drank beer with him in a British pub back in 1997.  He was a sweet guy then, and I’m betting he’s still a truly nice man!



Four vowels, one voice



What a resource!

Scott Miller has put together an incredible set of musical theatre resources at his New Line Theatre site.

I mean . . . WOW!


Here’s a link to an MRI of an opera singer at work.  Look at how much the tongue, the velum, and the larynx move!

How to breathe

I spend a great deal of time with new students (and honestly, with returning students too) teaching basic ideas about easy, full inhalation and then the appropriate use of that air.

Students often come to the studio so scarred by a) previous teaching that never talked about breath and/or b) choral experiences where the conductor unintentionally signaled high, short breaths.

As part of the retraining, and as a resource, I’m providing this visual reminder:

This German film from 1936 shows the beating heart, the movement of the ribcage, and the action of the diaphragm.

Starting around 1:35, you can really see the diaphragm engaging, causing the vacuum that pulls air into the ribcage.  This is coupled with simultaneous external muscle action on the outside of the ribcage, lifting the ribs up.  Notice the incredible amount of expansion, and then just how active the diaphragm is on the rapid exhalation too (signaled by the deflation of the lungs).  The diaphragm is the dark mass at the bottom on the x-ray.

A side view (starting around the 3′ mark) is instructive, but not in a good way.  The sternum is low, and the rib cage is tilting significantly as the subject engages the breath cycle.  This is not good!  For singing, we need a lifted and stable sternum, allowing maximum air flow and energy.

A 3-D rendering and explanation is quite clear:

Of course, none of this information is discussing what singers need to do well, which is the technique of appoggio.


And for fun, this article on

A long video about appoggio will require some patience, but it’s worth the watch:

David Dimuzio also discusses breathing in his breathless video:

He’s right!  You cannot sing from the diaphragm.  Of course, he has the whole thing backward — the diaphragm does not go down because the lungs are filling, but instead causes the inhalation.  This video includes a great deal of half-info, but he is right in talking about the tension between diaphragmatic relaxation and the abdominal wall engagement, which is the eternal struggle of appoggio.  (Please do not imitate his tonal production, at least in my studio, unless you are thinking more rock-music kind of thoughts!)


Six by Sondheim

A magnificent documentary!

IPA samples

Over 1000 art song lyrics were researched to find phrases that contain a frequent occurrence of the vowel and consonant sounds as introduced in the Lyric Diction Workbook Series. Each video includes IPA and highlights prominent Italian, German, and French artists.

Thank you for visiting the website!

Kind regards,


Cheri Montgomery
Blair School of Music at Vanderbilt University
Author of the Lyric Diction Workbook Series and Co-author of Exploring Art Song Lyrics (Oxford)

Check it out!