Vocal tips, height of the larynx and expression

A student, professional and of great artistry write to me about a larynx position in singer. The colour is truly beautiful in this low larynx and her vocal folds seem not to suffer by this choice. We both agree that there is something lacking, and this is why I rarely leave so low larynx positions: she lacks of the moving, and quite often it happens with too low larynx that the emotional and vibrating part of the voice disappear completely. Italian Belcanto is not a special fan of low larynx for the same reason, that disappearing in nearly all of the special vibration that moves the others and called coloriti. In my experience few can not lack of this fundamental part and to me to choose the color and not the magic and the direct moving of the public is a feticism and not effective in terms of career improvement and that is why I generally not give a positive advice in choosing that. Go down if your vocal folds can allow it and you like it, when you see your emotional vibration disappear get back higher just as to have enough of it to be not monotonous. πŸ™ƒ

The step 2 in an ex dysphonic student

She found me by another student, she was dysphonic. She had teen an easy voice and then too much weight put in a not perfect vocal gesture (or just too soon as so often happens) in voice lessons and since other teachers and voice therapists and no way of not having a broken and breaking voice and the fear and unsatisfaction and anxiety related to frustrating constant feedbacks for some years. She trusted the process and the little discomfort of learning and changing the dysfunctional movements with the functionals and having my support and the feedbacks of no more breaks but the typical sense of not exactly your voice of what I often call the step one of the technique path. What it is interesting here, and it is just a recording during a lesson by Skype just to make her feel a bit of pressure and control what and how it affected this intro, is that you do not perceive anymore what she has been through. This is the step 2, the technical zero point of the fresh start with not anymore the feedbacks and fears and anxiety associated to dysfunctional gestures. And this is possible because step 1 is creating the correct functional gestures and not the control of the dysfunction. And yes she is pretty something, you will soon hear what we are preparing and that she will put on YouTube and we are preparing her first gig.

How to train a complex pattern, also having a bit of fun.

How to train a true complex pattern with a vocalisation invented for a 9 years old boy with a short tongue frenulum and no option to cut it. So I found ways to gain mobility and functionality. In here I teach a complex pattern for her voice with a fun vocalisation not really difficult.

Sister I. was sent to me by her logopedists for an organic problem affecting her left chord after a tyroidectomy. The problem with #cossumethod was completely solved, she sings also as soloist and the stroboscopy shows a perfect movement as nothing happened. You find in the Cossu method page up the link with more information and medical certifications. Is it safe to use strength in this kind of retraining? Yes if the movement is correct and not disfunctional, at the end cossumethod works on functionality. As usual if the gesture is correct we can go safely to those high notes.

Using a 6th arpeggio to stretch positions for jazz singer #cossumethod #vocaltraining

Tipical example of how to use what could seem a classical to develop muscles and positions for a jazz voice. And also classical example of how to develop a voice without collapsing and remaining restraint in the repertoire/style performance sound. Meaning by that that we can (as I always do, and perhaps we should) think separately the training of the voice and the singing so to have the freedom to use exercises and vocalisations to obtain the voice we can use without straining and yet prepared for then practice the style and the repertoire and performances. It can seem the same thing, no there is a useful great tool in this way of proceeding. The huge difference with classical purposes is where to put the stretch horizontal of the same position and where to make the turn or the kind of copertura if you prefer getting downward (and not upward in positions as I do with her) in the tessitura.

*One notation for professionals and teachers: why do I have her sitting? Of course it is on purpose and precisely thought. 1) as you can hear she is not accostumed to the kind of precision in position I am asking her 2) we worked on gaining enough elasticity in breath (intending breath as in Italian Belcanto as the force of the front (not the low abdominals we use to support) and not from the back) 3) for the two previous points I can avoid excess of intensity in her vocal folds and not specific work of the breath with the sitting position and the feet and legs just to have a continuity in elasticity but not as producer of strength. Once integrated breath/positions she will be allowed of using legs, feet and hips but not in these kind of vocalisation (if used we will develop a classical sound or a too pushed one for the jazz singer she is).