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 vocalisations. 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, just the capacity to remain focused and ready to 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.

Work on what you are, not on what you pretend to be. Perhaps the most tricky and delicate part of my job is obtaining that by my artists.

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.

Since your diaphragm (as many other things) is built on actions, act on your choices and purposes and not on your fears.

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.

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.