Abstract
The purpose of this study is to discuss pedagogical demands of larger instruments (including support, breath management, tessitura, negotiation of registers) that will be based in pedagogical practices and literature: from their origins in bel canto pedagogy up to and including current pedagogical practices and research, drawing conclusions for effective teaching methods in terms of technique, vocalises, and repertoire.
A thorough analysis of pieces that are well suited to promote vocal ease in varying ranges of the larger voice will serve as an effective pedagogical model for teaching young large-voiced singers. In this paper, I will discuss the merits of these specific choices and provide a pedagogical framework for repertoire and vocalise selection for young dramatic voices. I will base this framework on an analysis of the research literature, including pedagogical books, scholarly articles, and publicly available interviews with respected pedagogues