Vocalise useful and funny

Laughing while working can be useful and concentrated. A funny vocalise of mine, ūüėÄ


My students: E***

E*** is now going on her own, it was the correct moment to do it after six years of lessons together. Good luck, ‚̧

My students: E**** / I miei allievi: E***

My students’ Recital part 1st

 

Lucia Cossu

She is 16, she studies with me since she was 10. Great personality, more jazzy than what she thinks now of herself.   Here some covers and one of her compositions. Enjoy.

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Lettera ai miei studenti

Quando cominciai a prendere lezioni di canto andai da Giannella Borelli, quando cambiai orario entravo dopo Chiara Taigi o Sumi Jo e la sentivo parlare di allievi che vincevano concorsi e che la invitavano nei vari teatri dove avevano ruoli. Era bravissima: un pensiero, una sapienza, il senso delle sfumature della tecnica belcantistica italiana che regolarmente ridiventa la base di ogni vocalit√† che sa quel che fa. Mi catalog√≤ come soprano leggero e la nostra lezione delle 08:30 am di 45 min (per sua imposizione e ora che insegno so perch√©, mentre io la avrei voluta di 60) consisteva in vocalizzi fino al Sib sovracuto. Aveva sbagliato catalogazione, sono un contralto e gi√† lo sapevo, ¬†entrando in Conservatorio la abbandonai perch√© sapevo non essere un soprano leggero. Feci con lei una cosa che faccio con voi e che dopo un po’ che ci conosciamo chiedo sempre anche a voi: feci quella che poi sarei diventata come cantante, feci quello che avrei sempre fatto e che metodologicamente ha reso possibile i risultati che ho avuto da cantante e ora da insegnante. Ho sempre pensato fosse una eccezionale didatta vocale, man mano che miglioro insegnando lo penso sempre pi√Ļ. Non era meno brava per il suo errore, ero io a dover far qualcosa per imparare nonostante fossi nel cono d’ombra del suo sguardo tecnico. Ho cercato di farlo e di imparare da quello che aveva seminato anche senza che lo sapessi, pur non andandoci pi√Ļ, e quindi evitando di avere una modifica significativa del mio percorso. Questa √® una cosa che dopo un po’ che siamo insieme comunque vi chiedo, ovvero di non essere pigri su una cosa che vi interessa, di diventare voi attivi e capaci, di essere oggettivi e generosi anche quando siete o vi troverete nel cono d’ombra (e come sapete delle volte vi ci metto apposta nel cono d’ombra per controllare che reagiate come si deve). Io lo sono con voi, e questo vi chiedo ora che vi sto dicendo che andr√≤ via dall’Italia. Spero che una scuola con un terreno gi√† formato mi voglia o che un centro di ricerca sia interessato alle mie ricerche e se non la trover√≤ la creer√≤ in luogo meno inadatto di questo come ho gi√† fatto. Come sapete conoscendomi non vi abbandono, solo vi metto nelle condizioni di dimostrarmi che avete imparato e siete in grado di attivare ci√≤ che di meglio vi posso insegnare: ovvero a essere ¬†e mettere voi quella cura e allegria e profondit√† e disordine utile e a far quel passo che comunque la musica e il palco richiedono e che ci fa ritrovare come colleghi con tutti quelli che finora questo passo lo hanno fatto. In genere vi spingo e vi metto anche incastrati a non poterlo svicolare e avviene con il palco o risolvendo i difetti a lezione, qui vi chiedo di farlo per vostra scelta precisa. Vi chiedo di non sentirvi abbandonati, perch√© mi conoscete abbastanza da sapere che skype esiste e ci si fa lezione molto bene se si vuole, e anche un divano per chi vuole passare a trovarmi ma di spostare la prospettiva e essere anzi entusiasti che io vada dove si pu√≤ costruire per me quel futuro che qui √® tutto solo nel vostro progredire. Non sentitevi traditi o non considerati dal mio partire, √® il contrario. Fate il cambio di prospettiva e pensate che vi tradirei se rimanessi, smentirei quello che insegno se rimanessi dove per motivi strutturali e storici vado sprecata, come avreste il diritto di sentirmi vacua se invece che andar via dalla Borelli fossi rimasta lamentandomi poi della mia mancata carriera per sua responsabilit√†. Siate i cantanti che so che siete e che vi insegno a essere.


Who am I

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 instruments even with good teachers or coachs. ¬†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/).
lucia11I started then teaching vocal technique. I have 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. It is a very specific work, nothing to do with effective but less precise works on body and posture usually used in many forms and I consider now it a technical vocal work. I have a complete success in 98% of the cases. To be sure that the results with my students were appropriate under any point of doubt as they presented themsevels while and after working togheter I put some people with and without vocal problems under medical control before and after our work togheter 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 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.


My students: Rita Negrini

Yesterday evening we made a little demo with two technical songs with Rita Negrini that you heard from the July students’ Recital.

Enjoy!


On contemporary voice / Sulla voce non “classica”

One thing that has been a defeat to classical singers and teachers, and still persists as an issue, is the comprehension of musical and sound requires by voices used for contemporary purposes and t…

Source: On contemporary voice / Sulla voce non “classica”


On contemporary voice

One thing that has been a defeat to classical singers and teachers, and still persists as an issue, is the comprehension of musical and sound requires by voices used for contemporary purposes and the reject of some sounds in the voice. We (classical singers and techers category) have not made properly, in the past 40 years, the path toward the appreciation, the recognition and the knowledge about pop, rap, jazz, rock and extensively contemporary voices and so depriving of the appropriates and correct tools coming from our technique for this different kind of use of voice instrument. I still hear judgements on the quality of sounds in classical terms to judge and comprehend those voices. Please make a step forward  and understand that many things can be done even with not round and classically sustained sounds, as my work and many singers show. They need our tools, modified and readjusted for their sound and we need to be and to shape and use the knowledge we have for musical needs and not ideal singers of always the same repertoire.


My students: Agnese Piola

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She is my students since a couple of years now. She arrived with a technical problem that made here not being well in the pitch and a too much air in the sound. We worked just technically for 18 month and then I could convince her, that she always refused in the past to sing in a class Recital. This is her first demo recorded in three hours after the summer pause. She is now involved in composing her first songs,  looking for a band, to imagine projects and study some repertoire. Enjoy!

 


My students: Elena Paparusso

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Elena Paparusso is a jazz singer and composer. She was my student from May 2014 to February 2016. We made a deep technical work she needed and we made a focus on a voice setting which could be useful not only for the voice, but specific of her musical nature. The results were  the victory in the 2015 WinJazz Contest and her first CD Inner Nature.
This is Inner Nature one of the original songs from the Cd

And here The Mask always from the cd Inner Nature. Enjoy!

On september 29th the release of the album in an historical jazz club in Rome, the Alexanderplatz: click here for the event 

Her website www.elenapaparusso.com 

 


Sister I., another example of my method

This is a typical exemple of the results thought not obtainable by phoniatry, and especially  in such a simple and not expensive way.
Sister I. entered  my research program in june 2014. Sister I. had an important surgery to save her life, a thyroidectomy in october 2013. Since after she had problems with the voice, she could not speak, neither sing. She used to sing in her convent, many times every day and also as a soloist.

Here the certificate with the  diagnosis of hypomotility of the left vocal fold. She had a logopedic treatment very effective with the speaking voice but totally useless for the singing voice.  Few days before the beginning of our work another certificate confirms the hypomotility of the left vocal folds but now a good compensation of the other side.

We could make the left fold work again after three weeks and in the video is her voice the first meeting and after 5 weeks.It is not yet a good sound, it can’t be after so short time but you can hear that there is a substantial difference. You can hear the gain in the ring, a little glow on the sound, that the gained vibration and abduction make appear again. She had calcium values very low and they did not improve during all the months we worked togheter, but the succes was not affected.

These are her vocal folds after nine months from the end of our work and no other vocal treatment of any type after. You can see that a bad habit affects slightly  the right vocal fold (the right fold is on the left in the video) but the left is perfect in her vibration as if nothing had never happened. And since Sister I. sings every day and again as a soloist as before the surgery.

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