Breath management

Always on my Instagram on breath management and ist consequences

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Yesterday Madame Farrell told in the videos I shared of words and breath management. In Belcanto singers you will find always the same manner of talking about breath and how to use and feel it. It is a way of feeling that you develop after years of practice and at a certain point it manifests itself in the terms they talk about. In Garcia and Lamperti you will find some difference in this as a possibility, and I have the opinion that it is because they had more experience as teachers. To develop it you will not be always in the possibility of doing directly Tetrazzini breath exercises. Take note also that the freedom of well pronounced words and the freedom in working on them as Madame Farrell says is a consequence of this breath management. In all the situations in which you are not at the point of being able of working directly on it the regressive strategies are what will bring there (if your structure or musical temperament and path needs to get it) or that will substitute the perfect breath management gaining to your voice effectiveness. Seth Riggs copertura, some Estill exercises, some #cossumethod positions are example of this. If your path brings to this perfect form at a certain point you will have to choose to leave behind regressive strategies and step into the progression ones and you will rely on new different feelings and sensations, you will enter the same kind of support of Caruso’s and Marchesi’s and Tetrazzini’s and Farrell’s words and of their example. . . . . . . . #voiceteacher #vocaltechnique ###singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #manuelgarcia #italianbelcantotechnique #singingteacher #voice #voiceform #vocalgesture #breath #breathing #tongue #italianbelcanto #belcantotechnique #belcanto #eileenfarrell #enricocaruso #luisatetrazzini #mathildemarchesi #breathmanagement

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In Belcanto we never allow too soon to develop all the colour, intensity and weight if positions are correct not to have to build back positions and confusion into the breath management as he had to do. If not perfect the positions the internal energy presents itself as pushing and it is very confusing and long to surmount and correct it. During the correction doubts arise because at first in this period the voice will not sound, sometimes it will even not seem our proper voice. To avoid this risk we do prefer and often choose a slight lighter voice production for the first two/three years of the training (if really we have to structure a classical or technical voice can be also five entire years with never exceptions), so to structure the breath management and its emotional and creative energy into the tunnel that leads to the one or two changes of positions and to the sound that will last a life. . To have a tenor example of correct position listen to this on YouTube by tenor Carlo Bergonzi, the example he first does is a typical example of correct position versus low position with breath all sustain versus pushing https://youtu.be/ehRabLL1X6k . . . . . . . . . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #tongue #italianbelcanto #belcantotechnique #belcanto #franciscoaraiza #helenamatheopoulos #irmagonzález #irmagonzalez

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These are well known tools of Belcanto: 1. if you put colour forcing, this forcing will appear in lack of intonation and impossibility of the correct tessitura (extension can still be quite enough, but it is tessitura that says if technique is correct. Tessitura being the extension in which you can sing effectively and not just emit sounds), you correct it by creating the segment of posture (call it breath management or soffio if you want); 2. to obtain the tessitura you have to create a sort of tunnel in which horizontal and vertical structure of breathing will shape in their interrelation of forces. Larynx has components that work in vertical and horizontal and any kind of deformation below and above will have a pull or push in some parts of larynx (or vocal tract if you want to have a larger point of view). This tunnel is very effective in getting back balance of forces into the complex work of the instrument and when well connected and shaped will allow some stylistic deformations without losing the effectiveness and health of the voice. —- Said that I will make researches to learn of those special (and certainly fantastic and precious) vocalisations of this amazing teacher that was Dame Irma González. . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #italianbelcanto #belcantotechnique #belcanto #franciscoaraiza #helenamatheopoulos #irmagonzález #irmagonzalez

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Voice is biologically related to: 1. close the passage to lungs of other than air; 2. scream the hell out in presence of danger. So not only it is not biologically wired to music and singing but also is based on constrictive and hyperarousal systems. If the shape of breathing (call it posture if you prefer) is not the optimal this means that all the structure has to be shaped better (also the fascia that will be the basis of your breath management). To do that we need to protect vocal chords and larynx from the excess and the hyper constriction that a not perfectly trained voice will regularly produce. Other way is to work on relaxation and very low and controlled energy. They are both interesting solutions, being the second risky in the medium and long term because it gets artificially separated from music energy production and not conditioning; it is well known the deficits and often the strain this exclusively second choice bring to a singer, and also it puts in the singer the fear of a arousing energy that can be absolutely safe (not to talk artistically necessary to music). How you choose this is the logic of the two step process: create safe conditions to train and shape. Safe conditions are an absolute since there is a huge disproportion between the forces versus vocal chords. To train and shape means that we create and develop what was not before. In the time being of development you are not the one you will be after the proper tone and flexibility, reactivity, power and relaxations are obtained. This is why you have always the impression to go to the opposite, and then changing of direction and having what is the direct correct gesture, when you study singing properly. . . . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #tongue #italianbelcanto #belcantotechnique #belcanto #franciscoaraiza #irmagonzález #irmagonzalez #bravo #helenamatheopoulos

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BREATH MANAGEMENT . This is how it looks the Belcanto prescription of the air out pushing toward the chest. As you can see it does not present head, jaw or neck and shoulders stiffness. It is a gentle forcing toward the sternum with a complete relaxation of constrictive muscles of neck and jaw (also in the low back and under the pelvic floor this pushing presents the same gentle pushing with no stiffness) that we gain by practice and practice and patient practice to surmount the biological responses of closing and stiffening and rendering impossible the contemporary work of horizontal structures. We gain a pushing out with the vertical forces that does not become a stiffness of the structure or of the joints with the horizontal ones remaining with enough flexibility and relaxation and contract capacity to pronounce and make rhythm and colours. Being the fascia the one which makes this transmission and oppositions of different levels of flexibility and contractions possible and balanced. This takes time and especially different phases before this synthesis is possible. . . . . . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #italianbelcanto #belcantotechnique #belcanto #breathmanagement #franciscoaraiza #luisatetrazzini #katiaricciarelli #lillilehmann #annesophievonotter

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BREATH MANAGEMENT 2 . Are they in the pushing of the air toward the chest of Belcanto so different? I yet talked about this in a post of a couple of days ago, now I go further in putting on purpose different styles and also with a shoulders coming or dropping forward that could seem a different sternum (call it chest if you prefer) management. No, if you look with attention you will see that it is exactly the same pushing and never collapsing. The shoulders are a part that is important t not to be stiff, and can managed with a correct and effective voice production even when coming forward and almost dropped forward. In the time very often this dropping gets less accentuated in the years since the breath management underlined in its constant use with the voice do correct it. What happens in excellent singer if for some reasons sternum starts not being in this correct pushing out? In this link of Freddie Mercury singing Who wants to live forever in 1986 you can see that when the voice loses clarity and vocal chords adduction is when the sternum closes (those considerations are in the only intent of clarify mechanisms, not musicality or judgments on the singers. We work and analyse mechanisms but we do not lose ourselves in minutiae. Mechanisms are very important for artistic singing, as the absolute respect and gratitude toward all singers who actually do sing and did sing for us and for other humans, be smart in taking in the correct way my considerations 😊✨) https://youtu.be/Z1waL65aMOQ . . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #michaelbuble #judygarland #vocaltechniqueforprofessionals #freddiemercury #brucespringsteen #billieholiday #arethafranklin #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #italianbelcanto #belcantotechnique #belcanto #breathmanagement #peggylee #luisatetrazzini #katiaricciarelli #annesophievonotter

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Madame Lehmann main exercise: the great scale

On Instagram I am doing a series on this great exercise of Madame Lilli Lehmann. Here the links to Madame Lehmann How to Sing and to the series.

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This is a great exercise, and really as she says if you just can learn and practice this you will have most of what is necessary for a voice and with one only tool. Said that can anyone start practicing it with certainty of success? In my experience no, for two main order of different reasons: 1. attitude; 2. lack of at least few notes with sufficient correct voice production. Attitude: yes it if fundamental, always and always in voice production. In means if you can have access to the correct motor control system for singing. This means that as I said in the post of yesterday you do not fall into the screaming or the constrictive patterns governed by your vagal and sympathetic/parasympathetic systems (flight-fight response especially mediated by an activation close to the sacral spine that takes away all possibility of support). Those patterns are strongly activated by mental attitude toward voice production, and many of the tools used in vocal technique as speed, legato/staccato vocalisations, accents, change of volume and intensity, using a lot of breath etc. are in the purpose of unblocking the singer stuck into those stiffening and stiff patterns. In some sort it is a forcing the system not to hyper control and find the spontaneous system (as defined by neurologists working in mirror neurons field as Rizzolatti), and for the anxious to experiment that beyond the flight-fight you fly as Dumbo (and not crush and die and suffer, no: you enjoy and fly and find sustain). For the second if breath can not activate at least some tones, you have nothing to start working on. In this case anything slow will create more gap than filling it, slow requires a structure; so it is mandatory to build a structure. Strategies as for point 1 can be used, as many other tools (usually in regression and with an initial bad sound outcome even when successful and effective, the slow will refine the sound 😉 ) to create the sufficient body structure; the typical case of those singers that some months after a period of training find developed things we did not work together or they thought were not worked. Those are valid for all the slow vocalises. #lillilehmanngreatscale

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What you will find when you practice it correctly is 1. the internal shaping of the fascia that singing can do when well and scrupulously practised (no wonder of postural changes if you use well singing tools, as happened also during #cossumethod program); 2. the access to this point of stillness in which your breath out is a contraction before the note production, something very special and amazing in the sound you find and physical and mind connection it creates (and also its consequences in how it changes ideas on music and pitch and vibrations, as a deep meditation that opens to doors of different point of view). And it does this by finding the perfect contraction before the sound and then this slight movement into the fascia or the ulterior contraction and concentration in the front of the larynx and of throat muscles or in other styles just the opening of the jaw that are the starting point of perfect sounds. You can feel as drunk when you find them, and are refreshing as she says many times. Regressions as I was saying yesterday are mandatory if you have not enough capacity of hips and larynx to extend while remaining with a physiological placement of diaphragm during sound production, because you will compensate and deform the system (usually by hyper using lumbar back and pelvic pavement and eventually a direct anus contraction and some other legs muscles at the place of correct forces, so better wait and correct the system enough to get to use this perfect tool). PRACTICAL: if you do not have a teacher that understand how to solve your structure by use of regressions and regressive logic and you cannot use my lessons of help is a work with a strength and conditioning coach in the line of work of Coach Michael Boyle and an assessment of your movement and patterns with Gray Cook method. Then for us it is of direct help to work on: glutes bridges, deadlifts, split squats and all the unilateral squats variations, the chin up assisted. . . . . . . . . . . . . . . . . . . . . . . . . . . #voiceteacher #vocaltechnique #functionalvoice #belcanto #singing #vocalcoaching #luciacossu #lillilehmanngreatscale

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The great scale is the perfect breath management exercise; and breath in singing and most refined ways of thinking is a deep fascia thing. Life changes fascia: movements, emotions, a virulent and wild flu, walking, what we eat, drinking, surgeries, the shoes we use, travels, sitting habits, sport, ageing, health conditions etc. Some norms and prescriptions we find often in books and among singers are in the sense of avoiding the excesses in this changes or to take back some issues (as dietary prescriptions that can affect inflammation in some in unbearable levels as for high oxalates foods that many singers have traditionally reported as problematic). As great technical singers know one of the best way is to gain back and work technically on it every single day, and this is the line of advice of Lilli Lehman. Practice it to gain the fascia changement that do build the voice, and practice it to have basically no major changes in your voice or contain and slow down them. This also is the logic and path to follow to understand why we have to patiently build back or build when something of traumatic has happened. Also the reason why as singers we often do well with the assistance of figures and practices specialised on fascia health. . . . . . . . . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #tongue #italianbelcanto #belcantotechnique #belcanto #lillilehmanngreatscale #greatscale #fascia #fasciacounts

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Madame Lehmann prescriptions on how to execute the scale points it on the fifth grade of the scale, in her prescription is perfectly balanced on the fifth grade. By perfectly balanced I mean that it is not done at the expenses of sustain brilliancy or of voice colour. Often it is asked where to make this turn, and as in the great scale if appropriately executed it will be a segment in the middle of the tessitura, all the fifths of the two octaves extension are the segment of tessitura with this turning. The turn is the movement that brings a required and precise capacity of putting the voice relaxed but not without colour, a sort of copertura that will not deprive the tone from true brilliant sustain. It is exactly what she asks when she says of the palatal sensations and the movement in pronounciation of the fifth grade (going up or coming back down). The fifth is the turned sound that will enlarge the compass, if well executed will create that segment additional with no loss of coulour and stenght that do shape correctly breath and fascia. On the fifth it is easier to make it clearly correct since: 1. the pitch and the vibration of correct pitch on the fifth is correct or wrong in a more clear way that on other tones; 2. it is first forced point of changing larynx position, this meaning that if you can incorrectly force tones in a fourth in the same position (as you can do sometimes for some stylistic requirements or with beginners who have not acquired the flexibility of changing correctly positions) you cannot do that for a fifth, you are forced to change position. In others Belcanto styles this turn can be exaggerated (as in many XXth century opera singers, as shows the great soprano Katia Ricciarelli in her stylistic evolution; swipe for examples of this on YouTube) or taken to the minimum physiological required not to strain the voice as in Nellie Melba or Tetrazzini Belcanto concept. #lillilehmanngreatscale

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Italian Belcanto in its pure acceptation is different from other Belcanto styles in one precise thing: it wants and chooses the sustain component in the purest vertical force and never loses it in the vibration, not to gain colour or volume or expression that it is called void volume since it is done at the expenses of those vibrations that carry the sound and give this special vibrancy of Italian voices. In practical terms it means that it is centered on the development of positions and sustain to have pure head tones and overtones and never get to hyperturned or hypernasalised or worse intubated. Madame Lehmann is specially wise and prescribing to get to palatal sensations in the fifth of the scale and then getting into pure head tones going toward the octave she avoids the loss of this magic and wonderful vibration gaining at the same time what the voice can of warmth and nuances in the octave central the tessitura. You can note that when in this segment the notes are reached as the octave they will have a more head tones prevalence and when reached as the fifth the most coloured version of them; so in all the positions they will be found you are training this octave in all the flexibility and colour possible for the specific voice in the mixture of power-colour-vibration without risking the loss of the Italian Belcanto style magic vibration. In practical this vibration is a development of the structure, a strength development that can be fantastic and absolutely safe to develop as straining and dangerous if chased by violence and ignorance of how to protect vocal chords as the fascia system. *This development is a development of fascia, being the vibrations a material vibrating effect and not a only vocal chords thing as Tomatis found in some of its research. The sound is a sum of biological tissues vibrations and not just the effect of vocal chords exactly as a violin sound is not given by just the chord :). #lillilehmanngreatscale

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Here the link to Madame Lehmann How to sing free online copy http://www.gutenberg.org/ebooks/19116

On #cossumethod

He definitely starts understanding this trip. He certainly has last Saturday while recording. . 🕶. He certainly starts seeing that nothing mystic but just this complex engine made of us, interlaced of everything of us to regulate and put in the correct places very precisely. . 🕶. This was last year on #cossumethod .

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#voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #songwriters #voice #mind #consciousness

Irenea__

@Irenea__ , getting professional in 2019.

Another happy ending from struggle. She arrived to me not being able to sing without strain and breaking the sounds. Younger she was a natural voice, then some voice lessons and her voice did not improve but collapsed (that is why training of young voices must be of the finest level of knowledge for functionality and voice development, so easy to slip down fast and put dysfunctionality just for too much pretension too soon). It developed in a dysfunctional voice with struggle and breaking the sounds, impossibility of singing more than half an hour every other day.  Logopedic treatments and other different voice teachers useless. She did not contact me immediately because skeptical of Skype lessons. Then we started, we made 11 months weekly lessons, a pause of one year due to her scholastic tasks. Another 11 months of weekly lessons and here she is preparing the first gigs, no need of my lessons now. She seems to develop in a talented professional, now it is her choice and path, but not anymore struggle for unknown reasons. Very very happy.
Enjoy her and her evolution 🙂

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https://www.instagram.com/irenea___/

How I got back my voice 1

Yes structure in the voice counts; and I am not away from this truth.

How I got back my voice 1

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Look for Jason Fung and its team and structure.

Now it is plenty of datas and evidences on fasting in many forms. Ask always a doctor, consult with a doctor; as usual use wisely tools.

The following is anecdotal and it was correct to write and share it, not necessary for you to read or listen.

As I say often knowledge is transformative, important and as we know a tool for freedom.

Practically this means that we can change some conditions in a discontinuity way, as I preach for singing.

Some years ago a young student told me that if I applied cossumethod and its principle to me I would have back my voice. She was right but the starting point of mine was not into the parameters of cossumethod. I have a chronic condition diagnosed as a intermittent septicaemia not treatable. Medical malpractice made it worse since 2006, so you have to add to this intermittent montly activation its collateral effects, the effects of the many surgeries, the effects of malpractice: costant fever since 2006, disbyosis so severe that I could eat only liquid medical food with no fibers, malabsorption constant (I am also coeliac), chronic pain visceral and in the joints, reactive arthritis, the consequences of a useless surgical menopause (the surgeon convicted for this), heart with too high frequency the periods of activation (jumping to 180/190 per minute at rest), need of months of antibiotics every year. On voice you had the sensation of an old chronically low pitched voice, stiff and no light in it no more, no ring, and not trainable.

I write and publish that because I would have liked to know the evidences and datas and the existence of Buchinger clinics, or of Jason Fung.

Yes, I am stubborn and did manipulate getting better taking back natural food in the form of juicing and no fibers diet, inventing exercises to have back more functionality in the body, less acute periods with paleo diet and regular saunas, but was just a less pronounced getting worse all the time as expected by diagnostic.

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This is a discontinuity thing, a jumping to something I had forgot. So can be useful for someone, I would have liked to know of this tool.

To me was necessary an extended fasting of more than two weeks and now an intermittent feeding pretty strict (fasting every day minimum 16/18 hours). Perhaps there will be the need of a second prolonged to see if has a sense to try to get rid of it definitively, we will see with doctors. But never ever dreamt that I could get back to this happy normal mundane.

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So this is how it sounds after just a month of training, and just a week of classical training that was absolutely impossible. It is not correct, it has to get back in shape and stamina and far from the career I had, but it is a sharing of knowledge and datas not of musical or artistic level or meaning 😊✨. Those are just playing around to train and experiment.

My voice have back the ring, it is trainable. My career will not be back, but singing yes.

*yesterday the same (now grown and former student told me to publish that); and as I often use me and others to explain concepts and knowledge I think she is right. And yeah I have pretty amazing students.

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#voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #fasting #inflammation #chronicinflammation #jasonfung #buchinger #intermittentfasting

Limitations in extension: always to correct it?

VOCAL TECHNIQUE

There is the case of very interesting timbres, generally very effective and a certain limitation in extension, better refer in tessitura in those cases.

Some would think as a limitation this lack of great extension and some would like to solve it.

In my experience when the timbre is obtained by a sustain that reach the positions of second register by mimicking the first and maintaining the larynx movement of pronunciation of the first register is something truly effective and musically precious and if they do not want to absolutely sing repertoire that requires complete development and use of the three registers I would discourage to change it.

If otherwise obtained by a lowering of positions in my experience it will not damage so much the musical effectiveness to correct it.

Strategies for singers, the absolutes in your tastes and choices

VOCAL TECHNIQUE MADE SIMPLE

One of the frequent positions, of internal musical choice on voice that take some away from the development of their true voice is the refuse of something.

To make an example: those who totally refuse nose sound, in any way. They usually get to such a pure flat that takes away the sustain and as I said many times in my tutorials when you have not sustain you will have the sound of no sustain and in this case with correct positions they will sound truly nasal as they do not want. So avoiding the nasal resonances they are obtaining exactly to be stuck in the nasal sound any time they do not want to break the flat sound. So the correction is to put some exercises with correct nasalisation and develop sustain through that and yeah the nasal sound will go away.

Think about that anytime you are absolute in refusing a voice characteristic.

“We do not know what we do not know”

We do not know what we do not know.

So we can know our goals but not precisely how to get there (quite clearly we are not yet there),

for that we need to learn. And to learn is easier if we get coachable.

Being coachable is a smart move, and can be crucial if you have some motor control failures, some dysfunctions.

Dysfunctions even if born from some physical event present a stubborn certitude in the order, an order that being coachable can smoothen enough to change into a functional one.

Being coachable means that you can learn from every thing useful crossing your life, and especially you can learn what you do not know you need to know (that is the centre of knowledge, to know what you do not know not to know).

Singing patterns or movements versus single functions.

In the last two days I published three videos on Instagram about a fundamental concept I am talking about with a student. It is an important point that in rehabilitative and performing field has been well stated by Gray Cook, he defines it “the movement versus motion paradox” and says “Movement often denotes the act of a functioning body as it changes position under its own power. Motion might represent the available range of flexibility within a single body segment or group of segments”. [Gray Cook Movement Functional Movement Systems]

What this has to do with us and vocal technique? The well known experience some singers report me or see in others when in improving or correcting a voice of the nothing happens or the quality sound improves but not the singing or even some singers lose the effectiveness they had before yet tells us that something of this paradox is in voice too. Also those who do not have a natural voice and has never experimented what a singing gesture truly is and remain stuck in the training and giving command to single functions (sustain, copertura, pronunciation, turn of the larynx, modification of the vowels to have a sound more forward) in an impossible sum of command. Those who had not a natural voice and they find how to unblock it with an exercise in a function and get convinced that voice is training and finding everything with that function.

What I wanted to precise is that we have to gain and give our students or singers perspective. Singing is a movement, it uses synergistic functions and many patterns into a movement and every kind of work we do on parts must maintain the perspective and the care of the movement.

Sometimes we have to deal with singers who see a great improvement into their sound by improving just one function and do not see the risk of loosing the entire movement, and we have to improve the culture of what singing is on a functional level so that they will follow our advices when we say that yes to improve but let the system integrate and then see if can absorb another quantity of this function.

Also we have to give trust and courage to those who found finally something in voice by working on one thing with the integration of knowledge from other fields who can better clarify why at a certain point we want them to make a step further into true singing movement.

Italian belcanto as all the others method born from it contains the movement and work on movement and that is why it is so renowned and balancing in the voices. It has the limit of being well balanced but not yet developed into how much we can develop the single functions before losing the movement or if you prefer getting dysfunctional. Train on the single functions, but do it smartly.

Do as artists have to look to immediate clarity? #vocalcoaching

This is something truly important to me when working with artists, the productive confusion, that specific clarity behind a specific fog that can seem confusion.

A series of technical talks on vocal fundamentals.

I am a voice teacher specialised in technique and solutions for professional singers and future professionals.

I come from a soloist career in classical music interrupted by a long septicaemia. I relate to Italian belcanto technique and some exercises I invented to make a step forward in the possibility of working on voices. I had results also in vocal issues organic and functional, called by their doctor, https://luciacossu.com/cossu-method-program/