Technical voice can support and give a sound to dreams and visions and a part of world and universe while the natural voice supports and give voice to the interpreter, his life, his habits, reactions in life and intuitions. Technical has a training to access to a freedom and reactivity that use the interpreter, through and beyond him and mixing him and the existing outside him.
(For technical I do not intend the declared technical voice, meaning by that an affectation in sound and artifice perceived in singing, this is a techical limit to be solved.)
It is a choice and not a sound, it is a way of being interpreters and artists.
Sometimes, on purpose, I make my students wait. Can be just a couple of minutes, can be more, can be me opening the door with still my earphones, can be a not care about them for the time of finishing what I was doing.
They sometimes think I am losing time of their lesson, but I am teaching a lesson perhaps more important than some vocalizations. I teach them the focus and the attitude, that attitude I talked about in a recent post. Their time for singing, their time in lessons, their time in rehearsals and on stage must be in the sense of this and not judging and analysing and arguing and stating. It is not a requirement of humbleness or patience or submission, not at all but just the capacity to remain focused and ready sing no matter the disturbances. I go on ’till they arrive focused and no reaction but their focus. They learn not taking care of how a technical problem on stage will make them wait even hours or rush. And remaining ready in any moment to do their job, they learn to make a public wait if necessary, to provoke or wait the public wave or the musicians on stage or into the music, to obtain what is correct and has a greater sense than a good voice in tune.
That difference not always perceived or made relevant but as subtle as corresponding to two total different universes hidden bewteen a request and an offer. Music is always in an offer, even when ruled and born by professionals requests. It is a level of choice and comprehension very important to an artist in every kind of point of his career to be effective.
Fundamentals. Manuel Garcia exercise for blending registers and actually in contemporary times useful to practice that expire that closing the pharynx and obtaining the perfect copertura than leads to opening of the throat. That opening the throat so misunderstood and forgot in the sensation, yet fundamental for effect singing and to transform a flow of air into a not flowing air but just a force and no more air sensation. Copertura transforms our instrument from a ineffective flute to a violin, being breathing muscles the arch. Enjoy your Wednesday wherever you are, lots of good voice and music.
Into expire lies inspire. The only question is how to work and treat expire, and adjourn this work on changings yet happened and preparing chagings happening.
Said in other terms you have the yin disclosure from a correct yang, at the end and as a part of a correct yang. To define and work on yang is the question now
* Ilse Middendorf worked very well to define what the yin was, looking for the definition of correct inspire. She took away totally the yang since she saw the prevalence of this into inspire and wanted to avoid the loss of the totally yin principle that is at the basis of inspire nature. Linklater has found back a yang but does start not from where has to, they are expire and inspire one into the other defined and separeted but not far. External muscles can make mixed actions, not the root.
** Manuel Garcia worked truly well on the expire pure and correct that has as a disclosure the opening of the throat that appears when diaphragm make an inspire without interrupting the sound. And the principle of Belcanto italian technique is to find the inspire from the expire. Correct expire is crucial, not being just a pushing of air.
Air is not the best way to start a wave. Sound is a wave in a fluid, a geyser is not the best way to obtain a wave from one or more oscillators. A best way is to make that air a wave itself and to transmit oscillations we want becoming a sound being transmitted to our entire body in homogeneous or dishomogeneous way. We will then obtain to have all our body becoming the true oscillator and this wave produced inside to transmit to air and bodies outside. You can still sing by air, you will have a poor singing.
What is it the voice sound? Does a voice sounds always the same and having always the same perception of physical work to start a sound?
Sound is a wave, starting from a vibrating source. A trained singer with his memory will have a complex reaction and he’ll have his body ready to make the note required and vocal folds vibrating, slightly before we put the energy and the mucosa wave that starts the sound heard outside (an experienced singer can prolonge this moment of singing without sound for quite a long time and it is something special to experience). Inside we have lots of other structures vibrating, we are not at the zero absolute point so everything in us ocillates, sometimes vibrating in accordance with something else outside transmitting the oscillation or determined by our specific inside or even a sum of both. A good point to start singing is to just give an internal movement to breath related structures so to have a clear sound coming from our instrument that is generally what is perceived as our voice. The interpreter will make you dream, and have all this incredible effects a voice can have, does not just listen to its vocal folds and big muscles vibrating the note but hears and chooses something more precise perceived inside or outside, and puts the wave starting from this other point of oscillation or its waves to reach it in a summable way so to sum it in his proper voice and so making heard what sometimes we call the invisible that become visible. Truest interpreter will sound on something they feel as something precious or significant or simply with an inexplicable charm vibrating somewhere and just making it being where the wave starts or arrives to give it a voice.
My artists know well how I can be tough and not movable in asking them to solve together something that I call an ego excess and it is not the natural exaltation of ego on scene. What I talk about is the not solved ego that wants to state its existence all the time, especially under stress (we always sing under stress that you can also call energy). I will say something engineers can understand well: if you want to make some waves and not only turbulences and crushes you have to manage every source of oscillation and manage the waves produced. We have inside many sources of oscillations and we also react to those outside so we biologically and physically have many sources of waves. Voice production is according all the sources to manage and sum or to manage the waves produced internally to become a sound. An ego not solved states its existence making a fight and crushing everything not born from him, so fighting every wave or source it has not given precedent permission so it and it is just useless and not adapt to have a control. An ego solved will collaborate to manage and create and accord this sum of waves produced by all can react in a human. (Not to talk the obvious successive reacting and according with others musicians also producing waves, and further exalting or dialoging with every thing has an effect on stage 😉 )
* I do not mind egos, just care about voice production. <3
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