Fundamentals. Finding copertura and throat opening using Manuel Garcia

Fundamentals. Manuel Garcia exercise for blending registers and actually in contemporary times useful to practice that expire that closing the pharynx and obtaining the perfect copertura than leads to opening of the throat. That opening the throat so misunderstood and forgot in the sensation, yet fundamental for effect singing and to transform a flow of air into a not flowing air but just a force and no more air sensation. Copertura transforms our instrument from a ineffective flute to a violin, being breathing muscles the arch. Enjoy your Wednesday wherever you are, lots of good voice and music.

Fundamentals. Adapt to times changings.

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Into expire lies inspire. The only question is how to work and treat expire, and adjourn this work on changings yet happened and preparing chagings happening.

Said in other terms you have the yin disclosure from a correct yang, at the end and as a part of a correct yang. To define and work on yang is the question now

* Ilse Middendorf worked very well to define what the yin was, looking for the definition of correct inspire. She took away totally the yang since she saw the prevalence of this into inspire and wanted to avoid the loss of the totally yin principle that is at the basis of inspire nature. Linklater has found back a yang but does start not from where has to, they are expire and inspire one into the other defined and separeted but not far. External muscles can make mixed actions, not the root.

** Manuel Garcia worked truly well on the expire pure and correct that has as a disclosure the opening of the throat that appears when diaphragm make an inspire without interrupting the sound. And the principle of Belcanto italian technique is to find the inspire from the expire. Correct expire is crucial, not being just a pushing of air.

Tips. Does vocal attack happens well by pushing out air?

Air is not the best way to start a wave. Sound is a wave in a fluid, a geyser is not the best way to obtain a wave from one or more oscillators. A best way is to make that air a wave itself and to transmit oscillations we want becoming a sound being transmitted to our entire body in homogeneous or dishomogeneous way. We will then obtain to have all our body becoming the true oscillator and this wave produced inside to transmit to air and bodies outside. You can still sing by air, you will have a poor singing.

Tips. Where a singer’s sound starts and from what.

What is it the voice sound? Does a voice sounds always the same and having always the same perception of physical work to start a sound?
Sound is a wave, starting from a vibrating source. A trained singer with his memory will have a complex reaction and he’ll have his body ready to make the note required and vocal folds vibrating, slightly before we put the energy and the mucosa wave that starts the sound heard outside (an experienced singer can prolonge this moment of singing without sound for quite a long time and it is something special to experience). Inside we have lots of other structures vibrating, we are not at the zero absolute point so everything in us ocillates,  sometimes vibrating in accordance with something else outside transmitting the oscillation or determined by our specific inside or even a sum of both. A good point to start singing is to just give an internal movement to breath related structures so to have a clear sound coming from our instrument that is generally what is perceived as our voice. The interpreter will make you dream, and have all this incredible effects a voice can have, does not just listen to its vocal folds and big muscles vibrating the note but hears and chooses something more precise perceived inside or outside, and puts the wave starting from this other point of oscillation or its waves to reach it in a summable way so to sum it in his proper voice and so making heard what sometimes we call the invisible that become visible. Truest interpreter will sound on something they feel as something precious or significant or simply with an inexplicable charm vibrating somewhere and just making it being where the wave starts or arrives to give it a voice.

Vocal tips. The excess of ego.

My artists know well how I can be tough and not movable in asking them to solve together something that I call an ego excess and it is not the natural exaltation of ego on scene. What I talk about is the not solved ego that wants to state its existence all the time, especially under stress (we always sing under stress that you can also call energy). I will say something engineers can understand well: if you want to make some waves and not only turbulences and not effective crushes you will manage to accord every source of oscillation and  manage effective waves produced by movements and actions to have as result not just a not controled mess. Voice production is according all the sources to manage and act on the result, an ego not solved states its existence making a fight and crushing everything not born from him,  and it is just so boring and useless. An ego solved will collaborate to manage and create and accord this sum of waves produced by all can react in a human.
(Not to talk the obvious successive reacting and according with others musicians also producing waves and exalting or dialoging with every thing has an effect on stage 😉 )
* I do not mind egos, just care about voice production.  ❤

Vocal tips. Same word same notes: exactly the same?

When it happens that you ask a young singer on the same word that the song repeat two times one after the other with the same notes to change slightly vocal position, so slightly not to be really clearly perceived in the throat and nearly seeming the dream of changing position, and a change in overtones appears, a light, a light  into the word the second time, but not the first. And you have this movement of light that opens totally another consistence and horizon in the audience, as if the light of a precise nebulosa entered the song. And the singer looks at you without words, the same light in her eyes as she was audience.  And she is nearly 15 and she hears that, and she understands, and she understands that you understand and hear too. And we both know that those are the reasons they call her to sing, the reasons she sings and thought happened by casualty sometimes, the reasons you made music your life and they can be dreamt and chased and fixed.

* the song was Safe and Sound from Hunger Games and the word was gone in the second  Verse. Taylor Swift changed to change the sound, us to just have the same with this overtone that gave a sound into the note. The singer was MariaSofia Ferrante, not yet 15 then.