Your voice is a horse, it has the courage, the freedom, the beauty, the crazyness, the heart; and as horses the fears, the shyness, the sudden scares and the sudden leaps. Us is the jockey, the rider that can train and understand the specific horse we have inside. We cannot change the horse but we can become excellent jockeys and trainers. Natural voices have no jockey and sometimes it is better than a bad one, no natural voices do not have perceived tha horse inside and they run at his place (not surprised it works not that well and you are out of pitch etc.). Good technique in knowing that we are two and teaching the jockey to train and give freedom to the horse, we always work on the jockey when we teach and only as a result on the horse.
One of the most mistaken concepts in the XXIst century is the concept of leggerezza. It is mistaken with an inconsistency and not appoggiato sound or an undersinging attitude.
In fact is one of the fundamentals of singing and foundation of power and strength, also of touching pianissimo. It is simply the elasticity in vocal tract and especially in the larynx to follow the increasing pressure of breathing without opposing a force to maintain a fix position. In the beginning it is a basic to shape correctly the breath (that is not the flow of air but the stretch and pushing of a muscle and a capacity of getting a specific internal posture). In more advanced stadiums it is basic to have a correct height of larynx and registers passages, not to mention all the nuances a voice can have. It is also indispensable to shape a strong muscular base without straining the vocal folds in voices that will be strong and with a good ring and rock quality.
If your personality cannot feel comfortable by all the unknowns of vocal gesture (it is so complex and internally related with so many structures that in really long time we will be able to explain and visualise it correctly) and simply accept of being able of correct and effective gesture and choices, then go and choose explanations and images that you find logical or simply that fit for you.
But, there are two FUNDAMENTALS but.
First: do not think that your explanation is reality. Perhaps it will be proved that it is, but you cannot know till proved, and to be proved is not fundamental for the purpose of relaxing the part not satisfied of remaining in the incertitude that pushed you to the search for explanation. Your explanation is built for you and to sing without the anxiety and struggle of some characters in accepting the existence of unknown, remember and accept and love this, and perhaps you could also find some things true in your way of explaining it.
Second: your visualisation and explanations must be built with the logic of the voice, with that specific way of thinking that is unavoidable for a lasting and correct voice gesture. If you do not follow this point you will start losing part of the vocal gesture, not a good idea if your purpose is to sing and not to look at the voice from outside without reaching it.
Since I moved recently to London, I offer an August and September discount on my lessons.
The usual lesson of one hour will have a 50% discount for a maximum of four per one person. From the usual cost of 100 pounds per hour so it will be reduced at 50.
The 12 lessons package that has a cost of 960 pounds (paid in advance or in three months and to be used in maximum of 6 months) will be discounted of 30% so it will be 672.
Write to me to email@example.com.