• Scott Bourne

    Posted September 21, 2011 By in Guests, Upcoming Shows With | 1 Comment

    Photography and media pioneer, Scott Bourne can help you become a photographer.  Want to your photos to appear in newspapers, magazines, and online?  Scott has done it all.

    Scott Bourne is a digital media pioneer and has been involved in photography for more than three decades. His award-winning photography has appeared in more than 200 books, magazines, newspapers, television shows, fine art galleries and websites. He’s the author of five photography books including his most recent, GoingPro, co-written by Skip Cohen, which is expected to be released by Random House in the spring of 2011.

    Scott’s led workshops and seminars, taught for or spoken at conferences or events sponsored by Palm Beach Photographic Center, Cooperative Communicators of America, The National Association of Photoshop Professionals,,, the National Association of Broadcasters. North American Music Merchants, MacWorld, Washington Professional Photographers Association, WPPI, PartnerCon, The Professional Photographers of America, Seattle Art Center, Marketing Essentials International, The Consumer Electronics Show and Olympic Mountain School of Photography.

    Scott holds the designation Apple Certified Professional Trainer (T3) for Apple’s Aperture. He’s also previously held the designation Certified Adobe Photoshop Instructor. He was one of the first photographers to receive the Professional Photographers of America’s Certified Professional Photographer designation and also holds the Master Photographer designation awarded by the Washington Professional Photographers Association.

    Scott’s business acumen and marketing skills have landed him on the boards of directors or advisors for dozens of media companies and Internet startups, as well as several large photographic-related businesses. Scott is also the co-founder of the Professional Wedding & Studio Photographers International and GoingPro, with Skip Cohen.

    To see Scott’s work go to:

Comments (1)

Julliana » 20. Jul, 2014

Tessitura, Michael, is exactly like you say. That is why some snerigs can sing some roles well, and others are a complete struggle. Yes, I am one of these rare voices that can cross from Contralto to high soprano with ease (and with understanding of how to do it safely; the natural weight of the voice still plays a part, that is why I soon concentrated more on the Dramatic Soprano range rather than always being all over the map), but very few are so gifted. To help some snerigs understand Tessitura, I have them actually look at a score and see where most of the notes lie, then we experiment with singing just in that area for a while. They soon learn WHY that is the wrong role for them. They simply cannot sustain that pitch level. I have found that so many snerigs (including tons of professionals, I must add) strive to sing everything, because the Great Maria Callas sang everything (in reality, she didn’t, but she did sing a wide variety of roles that often differred greatly from one another in tessitura). She even became quite angry when Rudolf Bing expected her to sing Traviata and Medea too close together. Some snerigs know how to move their voice center up or down a small bit so they can sing various roles. Marilyn Horne speaks quite abit about how she had to do that to sing Adalgisa from NORMA or when she sang the super low Arsace from Semiramide. But both roles are basically sung now by Mezzos. But even doing that is very risky, if one is not carefully taught how to do it, and if one does give enough time between roles for the voice to settle again. There is also tradition one has to contend with, for the three middle Verdi operas (Traviata, Trovatore, and Rigoletto) all cover the same notes and are very similar in tessitura (though not exactly the same, if you exclude the traditional High notes), but they are sung by very different snerigs. Singers often claim that it takes THREE different snerigs to sing Violetta in Traviata because of the higher coloratura singing in Act one, then a more dramatic in act two, etc. Ponselle had to transpose downward in act one and remind herself to not allow her voice to travel too far up, but to also stay lighter. We associate Gilde with a very light soprano, a bright coloratura, because of the added high notes. But the music is actually not all that high, and much of it no worse than what is in Traviata. And we associate the Leonora of Trovatore with a dramatic soprano, yet, again with the lower options provided by Verdi, she is not all that different. That is what makes Verdi so hard to sing. On the surface his tessitura seems so much the same, but the weight required to sing the various roles is so different. And the tradition behind what the public expects to hear in the various roles plays a very great part. Even as I have sung all three of these roles, though the notes per se are not all that different, nor is the voice center, there is a very different feel in the singing. One is aware of different things and different dangers that one will face. But Verdi is like that. He expects a coloratura combined with a dramatic, combined with a falcon, combined with a contralto (especially with Elena in Vespri, low F sharps are needed below middle C) all able to sing with top volume over tons of very loud instruments, to exploit the extremes of the range singing super loud and dramatic music in the bottom of the voice and in the next measure blasting the roof off with the high notes. And on top of that, he wants you to sing melting pianissimi that one would expect only from a Mozart singer, and to float top notes as a thread of sound. I am not so sure he understood much about tessitura (a terrible thing to say about such a great composer) for even if one goes through a score and discovers where the center of the role lies, and then you decide what sort of singer is required, he dashes all your hopes to pieces because of what he expects that same singer do in the Lower or higher part of their range (his Baritone roles are very high compared to those of other composers of his day).But like you say, two things may have the same range, but a very different tessitura. Nearly all operatic sopranos roles have about the same range (some have high C written there others don’t but as I say minus a few, and usually only a very few, high or low notes, the roles appear to all have the same basic range). However, they are quite different to sing. Valentine and Marguerite (both from Les Huguenots) have the same notes, but are very different roles. The contralto role of Urbain also has the same notes (excepting the low Gs required in the Non, non, non, non, non aria written for Alboni, a true contralto) but again a very different tessitura and a very different sound requirement. One opera that really shows the mix of voices is La Gioconda. It requires a soprano, a mezzo, and a contralto. Yet, during many of the different passages, and even arias for the different women, much of the music is set in the same vocal place. Excepting the blind mother (who never really goes all that high, but not really all that extremely low either) there is little on paper that really lets a singer know the difference between Gioconda and Laura. The tessitura is so similar. But Laura is easier for a high mezzo than she is for a dramatic mezzo. And Gioconda is easier for a dramatic soprano than a lyric soprano. Again it is tessitura, even if that difference is only a note lower on average. It is amazing how that one note lower or higher can make so much difference. That is an aspect of tessitura that so many can’t see. The difference of the basic center of the range need not be very large. A role sitting more on the D/E notes at the top of the staff (for sopranos) can be easy while a role with the center more around E/F can be murder. When the tessitura is huge (like around a B/C for one role and an E/F for another) it is easy to tell which is harder for any given voice to sing. If your voice is a very high voice, the lower tessitura will be very tiring to maintain. If your voice is a very low voice, the higher tessitura will be hard to maintain. Those things are more obvious. It is those roles where things appear not to be all that different that make the real problems, for usually they fall squarely in the passaggio, which tires the voice anyway to stay there too long. I am so glad, Michael, that you dealt with this issue. I was thinking about writing about it after a few days of thinking, but was not sure it was the right thing to do. I am so glad you took time to discuss it, for that is really the key to discovering music that is suited to your voice. Range is the notes you cover, but how much at ease you are when singing determines what is right for the voice. I am also so glad that Simon is discussing things with you. I am sure he will go far. Thanks for letting me intrude on your blog from time to time. I really hope that your readers are learning many things that will help them in their journey to singing, from finding a good teacher (if they cannot contact you or work with your directly) to learning how to be good students always willing to learn and to study. I can assure them, ONE NEVER learns everything and I my view one is never an expert on anything. When it comes to singing, the longer you do it the more you learn, and the more you can see that there is so much to learn. It is truly a never ending journey, and a journey of great delights and possibilities.