An old precious perspective on voice with new exercises to work through it in a contemporary way; the old instrumental italian belcanto technique and a corpus of new exercises to obtain that instrument the voice is. A perspective useful for professionals, beginners and in rehabilitative field.
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.
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.
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).
What nice to talk with a former student who has an interesting view on our work and my method from his medical job; and so nice that not only he is smart as he was but his band will get back rehearsing. Thank you Alex, still pleased of having had you between my students.
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/cossu-method-program/ ) 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 and to refine and find tools and expression for the advanced and the professionals.
It is a sort of way to put everybody to the zero point.
Sister I. entered my study program in june 2014. Sister I. had an important surgery to save her life, a thyroidectomy in october 2013. After she had problems with the voice, she could not easily speak, singing impossible. She used to sing in her convent, many times every day and also as a soloist. She had a beautiful clear and natural voice, not trained and had some stuttering when child. She had calcium levels very low and they remained low durign the program and after. Now she sings again and as soloist as if she had never had any voice problem.
Here the certificates with the diagnosis of hypomotility of the left vocal fold before logopedic treatment and still the same hypomotility after but but a good compensation gained, singing still impossible for her.
*01/28/2014 Tyrodectomy on october the 3rd 2013, since dysphonia, and slight dysphagia for liquids. Negate having other noteworthy patologies. Fibrolaringoscopie: Normal cordal morfology. Hypomotility of left vocal fold. Inadequate compensation of the contralateral fold. Normal respiratory spaces. No smoking. Require a tenseabductive phoniatric treatment.
After logopedy * 06/06/2014 At current control it is confirmed the situation of hypomotility of the left vocal fold, good compensation of contralateral fold
It confirms the hypomotility of the left vocal folds but now a good compensation of the other side. She had very low calcium level from the operation till several months after the last certificate you found at the end.
After #cossuprogram. During she could get back singing every day and in some Those are her vocal folds in photo and stroboscopy after nine months since we stopped our work. No maintainance exercises, no further therapies. As nothing has never happened to the left fold. The certificate confirms that * Fiber optic laryngoscopy: True vocal folds normal in morphology, slight hypomotility of the right vocal folds, slight hypertrophy in the posterior closure as for suspected reflux. Stroboscopy: regular vibration, simmetrical and of normal amplitude.
And since our work Sister I. sings every day and again as a soloist as before the surgery. In may 2017 Sister I. wrote me that she had been the soloist of the Litany of the Saints during a Solemn Profession in the Basilique of Santa Maria degli Angeli in Porziuncola (Assisi). As nothing never happened to her left vocal fold, joy.
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. Professionals will hear that there is a substantial difference, even if in a subtle way since it has to get some training back after one year and a half of hypomotility. You can hear the gain in the ring, a little glow on the sound, a more clear timbre that starts appearing. This to me is a truly important sign and telling me that the vocal folds start having a correct activity, I know it is the start of having after just to make the chord being trained. She could sing in a little celebration of Sandro Pertini Hospital one month after the end of the program.
M. is a 7 years old boy who entered my three months study program.
Those are his vocal folds in November 2015 and a week before we started my program. Kissing nodules, hematoma, deeply dysphonic, with also a problem of stuttering; three years of logopedic treatment with no significant results.
In the video shown below his sound at our third meeting and after a couple of months. At the end of the video you can hear him one year after the end of our work that give an idea of his speaking voice and the clearness he reached with no further exercises (it is usual in my experience that when we correct the vocal gesture the sound will have a year to really change in timbre and density).
He was a very difficult student and not for the age; he had a not collaborative attitude, I thought that the difficulty in not feeling of having a voice to express himself for such a long time could had some responsibility in this attitude, but as you have seen the program worked even if he never made an exercise at home and the sessions were half long the others. Since he felt less difficulty he tried to totally stops collaborating and never made an exercise at home. At the end it have been impossible to make the videostroboscopy, the previous ones were easy and not a problem. At the end of the three months program the stuttering was reduced to a third of what was before, I worked on a physical part that came from a not connected muscular chain that I found related to voice production and the blocking in voice attack were reduced. Also some fear and anxiety I felt in him towards the speech failure was reduced and not felt as preminent, as before our work, he truly enjoyed his theatre performance at school and said his phrases with no problems. You can see that the singing sound is not really good (but to reach a very good sound it is requiered a longer time since in my experience for another year you hear the sound of how vocal folds have been treated previously and then their proper sound really appear), but you start hearing the different registers and the copertura and vocal abduction instead of air and that the singing order is simple and direct as in not patological voices. The speaking voice is clear and easy. Enjoy a little boy who can speak with less fear of failure, enjoy his theatre course and sing with great margin of improvement. And after one year he is stable and still gaining ring and round in the voice.
She is a singer who entered my study program in may 2014 with nodules, a pre-contact, an emathoma and a whiplash injury on the vocal folds. She had several years of voice lessons without gaining enough extension or intonation or the personal style she desired for a proficuous career. All the attempts to have a good technique (even with good and experienced teachers) were a failure, gaining something at the depens of other things and her vocal folds getting worse. This were her vocal folds when she started the program.
I found in her something in the muscular chains (that are the center of my method) without the sufficient elasticity and the proper work to give freedom and movement to tongue and larynx. The first weeks I used the physical exercises I have invented to start solving that muscular problem. As the connection was possible and more correct I worked on changing habits in authomatic gesture, imagined gesture and the feedbacks with vocalises on two octaves and songs out of her repertoire useful for my purposes. Those are her vocal folds after two months, quiet a huge difference.
Here her vocal chords after one year (you find them also at the half in the video above).
A.A.A.: reclutamento di persone per uno studio scientifico sul lavoro tecnico che svolgo su certe muscolature nelle mie lezioni di canto e i risultati che ritrovo costantemente. Lo studio è condotto in collaborazione con un foniatra e un osteopata.
Consiste nel fare un paio di lezioni a settimana di canto per tre mesi, riprese video delle stesse, controllo foniatrico e osteopatico regolare, accettazione della liberatoria al loro utilizzo per fini pedagogici e scientifici, impegno a non saltare le lezioni e a svolgere gli eventuali esercizi richiesti (per un massimo di 15 minuti al giorno).
Tipologie richieste: età compresa tra i 10 e i 55 anni, problemi vocali non di origine neurologica non risolti; cantanti professionisti con problemi da sforzo o di intonazione o non soddisfatti del tutto di quello che fanno; attori preparati vocalmente; stonati.
Lo studio si svolgerà a Roma, sarà completamente gratuito (ovviamente) e avrà una sede a Roma nord, una a Roma centro e una a Roma sud e dovrebbe svolgersi a breve, secondo caledari concordati con i partecipanti. Il numero non sarà altissimo e cerco tre categorie precise, per cui dovrò fare una selezione.
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