Your voice is a horse, it has the courage, the freedom, the beauty, the crazyness, the heart; and as horses the fears, the shyness, the sudden scares and the sudden leaps. Us is the jockey, the rider that can train and understand the specific horse we have inside. We cannot change the horse but we can become excellent jockeys and trainers. Natural voices have no jockey and sometimes it is better than a bad one, no natural voices do not have perceived tha horse inside and they run at his place (not surprised it works not that well and you are out of pitch etc.). Good technique in knowing that we are two and teaching the jockey to train and give freedom to the horse, we always work on the jockey when we teach and only as a result on the horse.
One of the most mistaken concepts in the XXIst century is the concept of leggerezza. It is mistaken with an inconsistency and not appoggiato sound or an undersinging attitude.
In fact is one of the fundamentals of singing and foundation of power and strength, also of touching pianissimo. It is simply the elasticity in vocal tract and especially in the larynx to follow the increasing pressure of breathing without opposing a force to maintain a fix position. In the beginning it is a basic to shape correctly the breath (that is not the flow of air but the stretch and pushing of a muscle and a capacity of getting a specific internal posture). In more advanced stadiums it is basic to have a correct height of larynx and registers passages, not to mention all the nuances a voice can have. It is also indispensable to shape a strong muscular base without straining the vocal folds in voices that will be strong and with a good ring and rock quality.
If your personality cannot feel comfortable by all the unknowns of vocal gesture (it is so complex and internally related with so many structures that in really long time we will be able to explain and visualise it correctly) and simply accept of being able of correct and effective gesture and choices, then go and choose explanations and images that you find logical or simply that fit for you.
But, there are two FUNDAMENTALS but.
First: do not think that your explanation is reality. Perhaps it will be proved that it is, but you cannot know till proved, and to be proved is not fundamental for the purpose of relaxing the part not satisfied of remaining in the incertitude that pushed you to the search for explanation. Your explanation is built for you and to sing without the anxiety and struggle of some characters in accepting the existence of unknown, remember and accept and love this, and perhaps you could also find some things true in your way of explaining it.
Second: your visualisation and explanations must be built with the logic of the voice, with that specific way of thinking that is unavoidable for a lasting and correct voice gesture. If you do not follow this point you will start losing part of the vocal gesture, not a good idea if your purpose is to sing and not to look at the voice from outside without reaching it.
Since I moved recently to London, I offer an August and September discount on my lessons.
The usual lesson of one hour will have a 50% discount for a maximum of four per one person. From the usual cost of 100 pounds per hour so it will be reduced at 50.
The 12 lessons package that has a cost of 960 pounds (paid in advance or in three months and to be used in maximum of 6 months) will be discounted of 30% so it will be 672.
Write to me to firstname.lastname@example.org.
I gave a young student Diana Ross _ Upside down to study, it is a perfect song for connection and copertura working in conjunction, especially with an Italian shaped larynx. The student is pre-teen, with good qualities and a little penchant for being intellectual, so she despises a bit the song for the simplicity of music and not remarkable lyrics. For the lyrics we agree it is an out of time way of talking and that we can leave be what they are and I ask her to focus on making words sound into the notes and phrasé. I give her some tips to find body movements to find how some abdominals give shape and a dancing shaping of the vowels. I ask her then to try to sing it taking away one at the time of chakra involving we had worked in the last weeks and to tell me when the song is still the song and when is totally lost. (This with chakras is one of the works we focus on from the moment we can involve them as a physical or more colouring quality, and it is one of the elements to understand how the internal artistry of a specific works and how it tends to shape every song.) So she takes away the crown and yes the song is still there, she takes away the throat and it is still there, she takes away some hips movement and she is surprised that song is still there, she takes away the heart and yes the song is really not there anymore. I can then make her understand that specific and generous quality of Diana Ross singing, no need to play the certified refined (if you hear some standards of course is clear she is) but just to use her refined qualities to take the straight line of heart and a nice superficial. In this same sense I have interpreted Dalai Lama words on a possible succession by a woman and that she should be attractive not to be useless. As the student you can think that Diana Ross was just her hips movement or see what was under a surface appropriate to be effective.
* the student has started having fun and joy with the song
One of the tricky questions in singing is the effect of stress and tension performance related (personal stress in general does not affect singing from the first time a singer chooses diaphragm connection as a voluntary choice of action).The inexperienced usually thinks being able to perceive his stress or pressure. This is a superficial way of considering how stress or pressure acts. We can have a perfect feeling of balance and not finding voice, or feeling panicking internally then find a way to relax and idem not find the voice and even find it responding worse then when panicking. Our internal feeling or perception does give a measure of something that is not the measure of our instrumental functioning. Only intrumental functioning will tell you how it is in that moment, and what is with proper energy and the correct level of tension but not too tense or too released and with the good internal time for the first song. Experience and especially the correct structuring of muscles and mental patterns during study and performances will shape in a way to render impossible to be different and not to find them back, but it is not the case while structuring or changing bad habits. So it is important to have a clear way of acting not to fall in the traps of the specificity of this great instrument but not intuitive. First is to stop thinking to control by perception (and stress will put happy an good perceptions out of focus) and start regularly check the connection and do the basic exercises as if it was our first time and with all the cares and not expectations of the first times. Even if we will not find back exactly what we can have we will be in the path for that and not farer. Second yes relaxing a bit but more as a stretching physical way than energetic (music requires its specific rhythm and energy and without we are totally stuck and impotent) and get into the physical internal sensation of songs rhythm and of songs internal consistency (it is at that level that diaphragm connection acts properly). Do not care if you do not feel what you usually feel, just try to find the usual acts and actions, perception will get back and improved after and just after you have lost it.