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/

Vocal tips, height of the larynx and expression

A student, professional and of great artistry write to me about a larynx position in singer. The colour is truly beautiful in this low larynx and her vocal folds seem not to suffer by this choice. We both agree that there is something lacking, and this is why I rarely leave so low larynx positions: she lacks of the moving, and quite often it happens with too low larynx that the emotional and vibrating part of the voice disappear completely. Italian Belcanto is not a special fan of low larynx for the same reason, that disappearing in nearly all of the special vibration that moves the others and called coloriti. In my experience few can not lack of this fundamental part and to me to choose the color and not the magic and the direct moving of the public is a feticism and not effective in terms of career improvement and that is why I generally not give a positive advice in choosing that. Go down if your vocal folds can allow it and you like it, when you see your emotional vibration disappear get back higher just as to have enough of it to be not monotonous. πŸ™ƒ

How to train a complex pattern, also having a bit of fun.

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.

Vocal technique: relaxation, not a good idea to train only in relaxation and smoothness.

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.