Today the postman did bring a new born in which I have some responsibility. ❤
Dear Eleonora Bianchini, you thank me for my instrumental wisdom. ✨ I thank you for your music and the great joy of this technical path made together, and the total trust you had in letting me shape your muscles and coordination bringing your voice in an unknown land that now is home.
Good luck Surya, Eleonora Bianchini made some songs I would not forget.
I am someone who can solve the reason why some people can’t be effective in a vocal technique or style, or when a professional can’t have the full or correct use of its instrument even with excellent teachers or coaches. I was a soloist and being trained in Italian Belcanto technique. A chronic disease that affects my inflammation level in the body related to a medical malpractice made my career last just three years during which I achieved goals I even had not dreamt about (further details https://luciacossu.com/about/).
I started then teaching, vocal technique. Being frustrated by seeing some structural issues that made some singers think about them and never relax into a deeper dialog with music I tried to found ways to solve them forever with the same approach to sound I had when I was a soloist. So I invented some physical exercises and discovered in what they were useful to a wider range of persons, even if invented on someone specific. This became a corpus of exercises, some totally invented by me, some are yoga or dance exercises modified to be useful for voice muscular chains. I have so found some principles to work on the reason why some can’t have a proper vocal technique even with good teachers. I found the relation voice-muscular chains in a way not imagined by professionals and now also the way some Manuel Garcia vocalises were intended and why even my excellent belcanto teachers couldn’t use them correctly. . It is a very specific work, nothing to do with others body practises for singers, useful but less precise for a vocal purpose. To be sure that the results with my students were really appropriate I put some people with and without vocal problems under medical control before and after our work together and it was confirmed the solution of their vocal problems in very short time, while a medical prevision of no improvement possible (https://luciacossu.com/2016/09/13/sister-i-another-example-of-my-method/, M. 7 years old/ M. 7 anni, One of the participants to my study last year) and those with no issues had confirmed an improvement in voice and posture.
When I say it is new I don’t mean that my work comes from nothing and goes to a new land, no. I mean that it is a step forward in what is the italian belcanto technique. I mean that it brings to the vocal land many that couldn’t previously reach it. And those who are yet there have a way to refine and obtain more.
That it is: a way to bring to voice and voice styles and technique or even just natural voice those who couldn’t before.
It is a sort of way to put everybody to the zero point.
Professional singing is not natural and it is a wearing activity, that’s why you need a technique. A technique, a good technique, will make yourself and nobody notice those two things and that’s why it is so important for singers to build a proper technique instrument, and for us the professional of voice to ajourn our tools and adjust and evolve them with the evolution of music.
In vocal technique to solve a technical point often means to make in the perception of the singer the disappearing of the question. This is the case for the passaggi, or vocal bridges. When truly solved the mechanism to adapt gesture and postures and muscles work and copertura will make the singer never perceive that such passaggio do exist.
* This is one of the typical examples of how a technical level will give opposite perceptions, even if from a physiological level the question is the same. In a technical solved level the singer will say exactly the opposite of the not solved singer about any question.
One of the fundamental points in technique is when and with what position making the first turn, also called copertura. Great part of national schools and national taste in sound is given by this position and way of making the copertura. If you prefer you can think about it as the first point in which you make the turn of the larynx, being the second the necessary one to obtain the high notes in female voices, falsetto in men and a certain kind of successive slightly turn for high notes in men voices that don’t desire a falsetto sound.
It gives the clear and precise english sound in medium and medium high register with its quite high position and the habit of not getting below, the somewhat flatted and falsetto sound in France, the velvet and lightness of accent and high tones in the spanish due to the involvement of soft palato to obtain the copertura, the always connected to sustain of american school that gives more strenght to the nearly same position then english school but less poetry in the ovetornes, the low position in german school that need to put some intubation to make the turn possible and connected, the perfect balance of all these elements in italian belcanto school, the slightly below positions of the swedish italian belcanto that gives more weight by the lower positin, the russian school which now is the closest to the italian belcanto we have.
The first turning oint can be moved and managed both by pronounciation or use of mask muscles and soft palate or nose inside muscles and the sustain and appoggio muscles and the posture in itself. It is something to think about when starting a training and also it is to have a strategy about according to repertoire and market in which the singer is working.