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. ❤
Month: May 2018
Vocal tips. Same word same notes: exactly the same?
When it happens that you ask a young singer on the same word that the song repeat two times one after the other with the same notes to change slightly vocal position, so slightly not to be really clearly perceived in the throat and nearly seeming the dream of changing position, and a change in overtones appears, a light, a light into the word the second time, but not the first. And you have this movement of light that opens totally another consistence and horizon in the audience, as if the light of a precise nebulosa entered the song. And the singer looks at you without words, the same light in her eyes as she was audience. And she is nearly 15 and she hears that, and she understands, and she understands that you understand and hear too. And we both know that those are the reasons they call her to sing, the reasons she sings and thought happened by casualty sometimes, the reasons you made music your life and they can be dreamt and chased and fixed.
* the song was Safe and Sound from Hunger Games and the word was gone in the second Verse. Taylor Swift changed to change the sound, us to just have the same with this overtone that gave a sound into the note. The singer was MariaSofia Ferrante, not yet 15 then.
Lucia Cossu vocal technique and breath expert 