In this video we see how music revitalizes an old man who is in a state of mental and physical decay – if music does this for the ill, what does it do for those of us who are well?! (start at 1:95)

Read his short BBC Article HERE

How musical are you?

• Takes 25 minutes on a computer with sound
• Test your rhythm, music memory and knowledge

Take the test

The Goldeyes regularly host American teams and require both anthems sung at the beginning of each game. Bruce has enjoyed to opportunity to sing for such a large crowd, and makes sure to lead “O Canada” in a key that allows the crowd to join in – and they do!

(Click the image below to watch the video)

- Mastery of the Tongue – Caruso and Tetrazzini

Proud member of the New York Singing Teachers Association

Upon reviewing my application, the Board of Directors have voted to accept D. Bruce Moore as a member!

The New York Singing Teachers Association is the oldest professional association of singing teachers and voice professionals, founded in 1906, centered in New York, with local, national and international members.

NYSTA is dedicated to inspiring and educating those who work with the singing voice,  across all musical genre.

Luiza Terazzini

… insufficient opening of the larynx or by stoppage of the throat passage, due to the root of the tongue being forced down and back too hard or possibly to a low, soft palate.
In order to have the throat perfectly open it is necessary to have the jaw absolutely relaxed.

- Luisa Tetrazzini, one of the great coloratura sopranos of the late 19th and early 20th century

“Almost all voices of any stature present a problem during training because of the break occurring in the vicinity of F, above middle C. Unless this problem is resolved successfully, smoothness and evenness of scale and, consequently, a good legato are impossible achievements. The break is caused by discrepancy in the balance and development of the registers. It occurs at virtually the same pitch in all voices. With women’s voices, it will be found in the lower tonal range, and with men, in the upper tonal range. The reason for the seeming discrepancy is that women sing an octave higher than men.

While the break must be dealt with effectively during training, it must not be
looked upon as a vocal malaise. On the contrary, it is only the better-formed voices that have to face this problem, as those which are perfectly smooth in scale are limited very often to lyric singing of a sweet and pretty kind. Such voices can never sing freely until the gap in the voice has been opened and a new program of development and integration begun.
There are several ways the break can be eliminated, but, regardless of the approach selected, certain conditions must be met:

1. the mechanism must be joined at maturity, i.e., after each register has been brought to its fullest strength and development,
2. an equitable balance between them must be established so that they cooperate in their activity rather than conflict, and
3. inhibitory tensions in the form of throat constriction or perhaps faulty resonance adjustments must be eliminated.

Luiza Terazzini

… they attack or start the note in the throat. Sooner or later this attack will ruin the most beautiful voice. … But to have the attack pure and perfectly in tune you must have the throat entirely open, for it is useless to try to sing if the throat is not sufficiently open to let the sound pass freely.

- Luisa Tetrazzini, one of the great coloratura sopranoes of the late 19th and early 20th century

At the completion of her first six lessons, this semi-retired woman has discovered a voice that she didn’t realize she had – an extra 7 or 8 notes in her lower register!

She is very excited to continue with her vocal training and make up for lost time!