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 offering and especially the concentration, that offering 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 offering and of concentration to sing, 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 on the correct attitude to sing no matter disturbances or ego requests. I go on ’till they arrive not taking care of how me or a technical problem on stage will make them wait (sometimes in music even hours or not imagined sudden rushes), and remaining ready in any moment to do their job; and they learn to make a public wait the correct or musicians on stage or into the music, to obtain what is correct and has a greater sense than just 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.
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.