Cantare è regolare un sistema complesso, e per sua natura funziona davvero quando si insegnano percorsi direttamente complessi per attivarlo e controllarlo. Questo desta la sensazione di casualità o magia che i non professionisti o i non davvero tecnici ritrovano nell’avere o meno voce.
Non è illogico o casuale, solo delicatamente complesso.Ciò non significa che non si curino aspetti singoli e parziali, con un lavoro mirato e precisissimo, ma ben distante e differente e non confondibile con il gesto complesso che si deve indurre a trovare.
E l’espressione indurre a trovare non è casuale o imprecisa, se si vuole un risultato davvero efficace non si devon dare appigli a gesti meno complessi, seppur paganti in un raggio di orizzonte breve.
La cosa rincuorante e che facilita molto il ritrovare il gesto complesso è che una volta indotto viene ricordato con una precisione e semplicità anche disarmante e il senso di piacere e benessere complessivo è tale da facilitare la sua riproposizione. Il cercare invece di prevedere e regolare in maniera solo volontaria e volontariamente direttamente indotta renderà impossibile il perfetto gesto complesso, facendo prevalere in maniera troppo squilibrata l’elemento che si crede indispensabile. Come per il vero inspiro, che ben ha definito e delimitato Ilse Middendorf, solo si può creare le condizioni per farlo avvenire (anche a piacimento e regolato precisamente per quando serve) mentre la parte volontaria dell’inspiro ne è complemento ma non parte fondante. In questo senso di ricerca volontaria e controllo tramite vie tanto indirette da sembrar al principiante casuali o frutto di abbandono dell’obiettivo è una parte fondante del gesto vocale efficace e musicalmente rilevante.
What is breathing for singing? What is correct breathing? Is it different from normal correct breathing? What are the muscles related? Which muscles have we to work to obtain a good singing breath?
The ancient methods talk about an appoggio (a sort of stand, of pillar) the voice find in a correct breath and of floating on the breath, of singing on the soffio (a gentle, very gentle blow) of the breathing. When we do sing well we lose the exact perception of the air going out and we just perceive a sound around us and a sort of lightness mixed to a sense of solidity and that’s what we call appoggio. How can we find appoggio? This is one of the most important questions of singing. It is normally the result of a good technique work, and it is essential to have the pressure without effort to make the vocal folds work properly. It is in some sort the way to make air become sound and energy, and not a rough blowing air. I tell my students to imagine that with appoggio air becomes water, a living water on which we surf. A sea or a lake or an ocean, it depends on the music we are singing, but not a geyser going out but something that become elastic on which we can float and jump and play surfing on the waves. It is a sort of pressure the air will have under the larynx that you will not feel as a pressure in a water gun for garden ready to be open, but just a freedom and a consistence in the body. This because we can augment the pressure by breathing out the air or by creating an opposition between the muscles of expiration and those which provoke inspiration. In the first case we will have not a good air for singing while in the second case all our air will become ready to become just sound and not to be rough to our larynx or vocal folds. I found very useful the osteopathic conception of breathing which is not that far from yoga conception (the true things relate all to the same, just the use or the path to join those is different). To osteopathy we have three horizontal structures involved in breathing: one under clavicular, the proper diaphragm and the pelvic diaphragm. Those horizontal structures in a good respiration move accorded one to the other. The clavicular for the voice is involved in the throat opening (also Jerzy Grotowski found that evidence in his acting technique), the proper diaphragm goes up and down in exhalation and inhalation, and it is just involuntary as the hearth. The pelvic one is composed by muscles that make lateral and backward-forward movement. A great part of singing technique is related to the possibility in controlling the diaphragm by the structures to which is anchored, and many are absolutely useful and good for many purposes. The new step I found in my experience is to control the effort and the wrong attack of sound by the training or retraining of pelvic diaphragm, which is directly related to the proper diaphragm. We can have easy pressure by opposing voluntarily the inspiratory muscles of pelvic diaphragm during phonation. I found very healthy to coordinate sound attack to a muscular inspiration through some studied movements that will have the result of an opposition of inspiratory and expiratory forces and a phonation with no effort. When this opposition is present the voice has the appoggio. With this simple appoggio and without a voluntary use of all the sustain muscles normally used in vocal technique in my experience I find an easy elastic voice that permits to work on faulty coordination of others part of the instrument voice. For a performing voice it will lack of some support sometimes, but it will be easy to add it when the fundamental defaults are extinguished and the gain in term of capacity of shaping new coordination is quite relevant. In a not so faulty voice I will add the necessary support by appropriate vocalisation and by appropriate repertoire. I usually wait the moment in which the attack of the sound has joined a good automatic coordination so to seem totally natural to teach the voluntary supports to obtain a voluntary work on sound more refined. The pelvic diaphragm often is not properly working and I have developed many exercises to work it and relate it to the voice, exercise anybody of any age can do. Results have been surprising also to me in profesional singers with or without problems, in some damaged vocal folds, in adolescents during the changing of the voice.