She found me by another student, she was dysphonic. She had teen an easy voice and then too much weight put in a not perfect vocal gesture (or just too soon as so often happens) in voice lessons and since other teachers and voice therapists and no way of not having a broken and breaking voice and the fear and unsatisfaction and anxiety related to frustrating constant feedbacks for some years. She trusted the process and the little discomfort of learning and changing the dysfunctional movements with the functionals and having my support and the feedbacks of no more breaks but the typical sense of not exactly your voice of what I often call the step one of the technique path. What it is interesting here, and it is just a recording during a lesson by Skype just to make her feel a bit of pressure and control what and how it affected this intro, is that you do not perceive anymore what she has been through. This is the step 2, the technical zero point of the fresh start with not anymore the feedbacks and fears and anxiety associated to dysfunctional gestures. And this is possible because step 1 is creating the correct functional gestures and not the control of the dysfunction. And yes she is pretty something, you will soon hear what we are preparing and that she will put on YouTube and we are preparing her first gig.
How to train a true complex pattern with a vocalisation invented for a 9 years old boy with a short tongue frenulum and no option to cut it. So I found ways to gain mobility and functionality. In here I teach a complex pattern for her voice with a fun vocalisation not really difficult.
Sister I. was sent to me by her logopedists for an organic problem affecting her left chord after a tyroidectomy. The problem with #cossumethod was completely solved, she sings also as soloist and the stroboscopy shows a perfect movement as nothing happened. You find in the Cossu method page up the link with more information and medical certifications. Is it safe to use strength in this kind of retraining? Yes if the movement is correct and not disfunctional, at the end cossumethod works on functionality. As usual if the gesture is correct we can go safely to those high notes.
Tipical example of how to use what could seem a classical to develop muscles and positions for a jazz voice. And also classical example of how to develop a voice without collapsing and remaining restraint in the repertoire/style performance sound. Meaning by that that we can (as I always do, and perhaps we should) think separately the training of the voice and the singing so to have the freedom to use exercises and vocalisations to obtain the voice we can use without straining and yet prepared for then practice the style and the repertoire and performances. It can seem the same thing, no there is a useful great tool in this way of proceeding. The huge difference with classical purposes is where to put the stretch horizontal of the same position and where to make the turn or the kind of copertura if you prefer getting downward (and not upward in positions as I do with her) in the tessitura.
*One notation for professionals and teachers: why do I have her sitting? Of course it is on purpose and precisely thought. 1) as you can hear she is not accostumed to the kind of precision in position I am asking her 2) we worked on gaining enough elasticity in breath (intending breath as in Italian Belcanto as the force of the front (not the low abdominals we use to support) and not from the back) 3) for the two previous points I can avoid excess of intensity in her vocal folds and not specific work of the breath with the sitting position and the feet and legs just to have a continuity in elasticity but not as producer of strength. Once integrated breath/positions she will be allowed of using legs, feet and hips but not in these kind of vocalisation (if used we will develop a classical sound or a too pushed one for the jazz singer she is).
My 2019? Be generous, be passionate, share the gifts of your talent, do not be short in giving your knowledge since true knowledge cannot be stealed, knowledge creates knowledge and fun and happiness. Create happiness and gardens with no thoughts for future, just be your passion and your talent especially in dark and fearful epoques. Happy 2019 everyone.
Training the voice is a complex work of opposite forces, and it does not work with the simple opposition of opposite muscles. We can think in a more complete and refined way putting the opposition on the functions so to work in some parts or in all the muscular chains and obtain not by luck all the different possibilities of voices and not strain or remain with a too limited voice.
If you are a boxeur or a sprinter will you train just in a relaxed and smooth way, as for example doing only Tai Chi? Relaxation can be useful and even fantastic as Tai Chi, but it is one of the tools possible and useful in voice training and it does not serve all the required purposes for professionals and performances or certain styles. Music and repertoire are made of different rhythms and accents and strenghts and if we do not train the system voice in a rational and precise way to be the perfect image of the music we are going to perform we will have a problem. Of course how to do that and from where and by what passages develop strengths and speeds requires great care and wisdom as in every training, but the answer always smooth and legato and relaxed is not the answer correct.