My students’ Recital part 4th

On 14th July 2016  my class sung in the recital for the end of the lessons. Rita Negrini opens the recital with Amy Winehouse Back to black.

 

And then she sings La notte

 

 


M. 7 years old

M. is a 7 years old boy who entered my three months research 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 with an exercise on speaking numbers that give an idea of his speaking voice and the clearness we reached.

He was a very difficult student and not for the age, but for a not collaborative attitude when he feels less difficulty that makes him totally stops collaborating. It was then impossible to make the videostroboscopy at the end of our work, the previous ones were easy and not a problem. Here is the certificate that on november 2016 certificates his not collaborative attitude and that the disphonya is  of light entity and this was the goal. The stuttering is a third of what was before, of course it is  a multifactorial issue  but we could work on a physical part that came from a not connected muscular chain in the voice production and the block of the voice was then significantly reduced.  Also some anxiety toward the speech failure  has disappeared and does not feel as preminent as before our work the failure possibility and you can see and hear that in the video. You can see that even if the singing sound is not really good (but to reach a very good sound need some more time since for one year in my experience you hear the sound of how vocal folds have been treated previously and then their proper sound really appear), you can still see that he is not out of rhythm in the singing order that is simple and direct and that you start hearing the change of colour over the different parts of the tessitura 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.

marco-fini-privacy


My students’ Recital part 5th

The closing songs of the recital: Rita Negrini sings Pink’s Who knew and Camilla Calling you from the movie Bagdad Cafè. Enjoy!


My students’ Recital part 3rd

On 14th July 2016 my class sung in the recital for the end of the lessons. Livia Bigi is an amateur popular singer that probably will become a professional. We did work on vocal technique and I started adding french song repertoire to her roman and fado songs.

Here two little excerpts and Edith Piaf La vie en rose.

Here two fado and her first demo.

https://soundcloud.com/lucia-cossu/sets/my-students-livia-bigi


My students’ Recital part 2nd

Camilla  is 17 years old and we started our lessons on January 2016. I am her very first voice teacher. This is her in the recital of 14th July 2016:  Dolly Parton’s Jolene , Burt Bacharach’s I say a little prayer for you and Walk on by, Calling you from the movie Bagdad Café. Enjoy.


My students’ Recital part 1st

On 14th July 2016 my class sung in the recital for the end of the lessons. E*** is a 17 years old singer and composer, you found her first demo in here and then in video part of her performance in the recital.

 https://soundcloud.com/lucia-cossu/sets/e-one-of-my-students-16-years-old

Here two songs:  with the cellist of her band she plays piano and sings Young and beautiful from Lana del Rey in a dark magic atmosphere.

 

and Pino Daniele beautiful neapolitan song Terra mia .


My students: Livia Bigi popular singer

Livia Bigi is an amateur popular singer and she is my student since en entire year now. She has uqalities to become a professional and our work is to gave her the technique for a professional level. She has in repertoire  fado, roman popular  and french songs from Piaf to Barbara./ Livia Bigi è una cantante dilettante di musica popolare, mia allieva da un anno. Ha le qualità per diventare professionista e il nostro lavoro tecnico è per farle fare questo salto qualitativo. Il suo repertorio comprende fado, musica romana e chanson francese da Piaf a Barbara. 
Here two fado, a modern one by Mísia and a more ancient one, that became well known sung by Amalia Rodriguez./ Qui due fado, uno moderno di Mísia e uno più antico reso famoso da Amalia Rodriguez.


One of the participants to my study last year


My students: E***

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.

 

 


Un nuovo allievo

‪Arriva un possibile nuovo allievo. Può essere un professionista o un principiante. Prima cosa trovare il modo di metterlo a proprio agio per ottenere di ascoltarlo cantare come fa abitualmente. Seconda cosa è trattenersi dal pensare e capire e analizzare tutto subito, delle volte può essere corretta e completa la prima analisi ma in genere son le proprie cornici e categorie mentali, di gusto e tecniche a posizionarlo velocemente all’interno di esse tagliando, tralasciando e subendo anche l’ovvia reazione affascinata o infastidita di cose proposte e ottenute e fatte con un diverso settaggio e utilizzo nel sistema complesso canto. Terzo: se delle cose funzionano anche se non si capisce come e perché avere molta cura che l’insegnamento delle altre non le vanifichi. Quarto: chiedersi come essere un utile strumento per il cantante che abbiamo di fronte e non farlo rientrare in un’ideologia accademica, per quanto buona annullerebbe le differenze e uniformerebbe appiattendo verso il basso la vera tecnica che è sempre leggermente diversa su persone e anime diverse. Quinto: chiedersi regolarmente se si sta sbagliando tutto e far mente locale a dei test che facciano capire se si ha ancora un’idea fresca e vispamente utile invece che solo una strada che va in un punto deciso tempo prima e che va ricorretta o almeno ricontrollata come se fosse nuova man mano che ci si sposta dal punto del controllo precedente. Il canto si giudica dal canto e non da idee di come si fa, altrimenti Gould e Richter e Backhaus avrebbero dovuto avere la stessa proporzionale altezza del panchetto e Hari Hoenig non dovrebbe esistere. Sesto: ricordarsi che la tecnica vocale serve per ottenere musica e risultati musicali efficaci senza danneggiarsi e questo è possibile farlo con infinite varianti di cose simili e che il nostro è uno strumento complessissimo e nessuno di noi lo capisce tutto e fino in fondo.