[The Sing Thing] is not based within a noticeably classical or indeed any other pedagogy, rather it is designed to enable the singer to stretch and warm giving a platform of basic vocal strength... The exercises were formed and developed from Browne's long and outstanding career both as performer and tutor... The Sing Thing is a good starter pack and reflects well on Browne's approach and work.

Barb Jungr, The Singer (magazine).

"I really do think it is excellent. It is very user-friendly (as my students have endorsed also) providing a clearly structured programme of practical, accessible and safe breathing and vocal exercises to help any voice student get the most out of their practice."

Louise Gibbs , Jazz singer and teacher of voice at Goldsmiths College, University of London and The Guildhall School of Music & Drama.

"At last! A well presented easy-to-live-with slice of singing practice. Anton Browne's dulcet tones will spread calm in your living room and encourage you to maintain your voice. Good technical advice and exercises to enjoy."

Della Rhodes, City Lit (Adult Education), Covent Garden, London.

"Finally, here is a practice CD that does what it says on the lid - helps you with your singing! The instructions are clear and precise and the vocal exercises practical, functional and useful. I would recommend this to beginners wanting to start, or singers wishing to keep their voice in shape - and I particularly like the groovy little backings."

Laura Zakian, Jazz singer & vocal tutor.

“Having identified a needy market, Anton Browne, the talented guitarist-singer-teacher and recording artist, has resourcefully produced The Sing Thing - CDs of vocal exercises for aspiring rock, jazz, soul and pop singers.

The Sing Thing 2 is the sequel to the set of vocal exercises, which first came out two years ago. Following a triangular format (Browne's silken advice, vocal demonstration and then accompaniment for student practice, albeit electronically produced), The Sing Thing covers breath management, jaw relaxation, tongue agility and resonance. The Sing Thing 2 develops these themes but moves us beyond the vocalisation of vowels on five-note major scales to the giddy heights of aural acrobatics with whole-tone and diminished scales over 12-bar blues forms! There's certainly enough here to challenge the most adventurous singer.

As a teacher I have found The Sing Thing extremely useful for singers who need structured exercises to organise their daily practice and monitor their improving grip on the challenge. There's no doubt also of the motivating power of rhythmic instrumental backing. The CD seems to work best for my students when I can give explicit instructions on the parts of the vocal mechanism that are engaged or disengaged in doing particular exercises, the aspect of musical or vocal technique that is being exercised and how it can apply to singing a real song. Of course any teaching resource is bound to be a poor substitute for good (often literally) hands-on teaching. But what I feel this very valuable resource lacks is visual and written material that gives an overview of the approach to vocal technique that Browne promotes. However, there is a website to refer to, and I understand that a supporting video may be in the pipeline.

Louise Gibbs. MUSICIAN (magazine) JUNE 2001

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