Breath management

Always on my Instagram on breath management and ist consequences

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Yesterday Madame Farrell told in the videos I shared of words and breath management. In Belcanto singers you will find always the same manner of talking about breath and how to use and feel it. It is a way of feeling that you develop after years of practice and at a certain point it manifests itself in the terms they talk about. In Garcia and Lamperti you will find some difference in this as a possibility, and I have the opinion that it is because they had more experience as teachers. To develop it you will not be always in the possibility of doing directly Tetrazzini breath exercises. Take note also that the freedom of well pronounced words and the freedom in working on them as Madame Farrell says is a consequence of this breath management. In all the situations in which you are not at the point of being able of working directly on it the regressive strategies are what will bring there (if your structure or musical temperament and path needs to get it) or that will substitute the perfect breath management gaining to your voice effectiveness. Seth Riggs copertura, some Estill exercises, some #cossumethod positions are example of this. If your path brings to this perfect form at a certain point you will have to choose to leave behind regressive strategies and step into the progression ones and you will rely on new different feelings and sensations, you will enter the same kind of support of Caruso’s and Marchesi’s and Tetrazzini’s and Farrell’s words and of their example. . . . . . . . #voiceteacher #vocaltechnique ###singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #manuelgarcia #italianbelcantotechnique #singingteacher #voice #voiceform #vocalgesture #breath #breathing #tongue #italianbelcanto #belcantotechnique #belcanto #eileenfarrell #enricocaruso #luisatetrazzini #mathildemarchesi #breathmanagement

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In Belcanto we never allow too soon to develop all the colour, intensity and weight if positions are correct not to have to build back positions and confusion into the breath management as he had to do. If not perfect the positions the internal energy presents itself as pushing and it is very confusing and long to surmount and correct it. During the correction doubts arise because at first in this period the voice will not sound, sometimes it will even not seem our proper voice. To avoid this risk we do prefer and often choose a slight lighter voice production for the first two/three years of the training (if really we have to structure a classical or technical voice can be also five entire years with never exceptions), so to structure the breath management and its emotional and creative energy into the tunnel that leads to the one or two changes of positions and to the sound that will last a life. . To have a tenor example of correct position listen to this on YouTube by tenor Carlo Bergonzi, the example he first does is a typical example of correct position versus low position with breath all sustain versus pushing https://youtu.be/ehRabLL1X6k . . . . . . . . . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #tongue #italianbelcanto #belcantotechnique #belcanto #franciscoaraiza #helenamatheopoulos #irmagonzález #irmagonzalez

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These are well known tools of Belcanto: 1. if you put colour forcing, this forcing will appear in lack of intonation and impossibility of the correct tessitura (extension can still be quite enough, but it is tessitura that says if technique is correct. Tessitura being the extension in which you can sing effectively and not just emit sounds), you correct it by creating the segment of posture (call it breath management or soffio if you want); 2. to obtain the tessitura you have to create a sort of tunnel in which horizontal and vertical structure of breathing will shape in their interrelation of forces. Larynx has components that work in vertical and horizontal and any kind of deformation below and above will have a pull or push in some parts of larynx (or vocal tract if you want to have a larger point of view). This tunnel is very effective in getting back balance of forces into the complex work of the instrument and when well connected and shaped will allow some stylistic deformations without losing the effectiveness and health of the voice. —- Said that I will make researches to learn of those special (and certainly fantastic and precious) vocalisations of this amazing teacher that was Dame Irma González. . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #italianbelcanto #belcantotechnique #belcanto #franciscoaraiza #helenamatheopoulos #irmagonzález #irmagonzalez

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Voice is biologically related to: 1. close the passage to lungs of other than air; 2. scream the hell out in presence of danger. So not only it is not biologically wired to music and singing but also is based on constrictive and hyperarousal systems. If the shape of breathing (call it posture if you prefer) is not the optimal this means that all the structure has to be shaped better (also the fascia that will be the basis of your breath management). To do that we need to protect vocal chords and larynx from the excess and the hyper constriction that a not perfectly trained voice will regularly produce. Other way is to work on relaxation and very low and controlled energy. They are both interesting solutions, being the second risky in the medium and long term because it gets artificially separated from music energy production and not conditioning; it is well known the deficits and often the strain this exclusively second choice bring to a singer, and also it puts in the singer the fear of a arousing energy that can be absolutely safe (not to talk artistically necessary to music). How you choose this is the logic of the two step process: create safe conditions to train and shape. Safe conditions are an absolute since there is a huge disproportion between the forces versus vocal chords. To train and shape means that we create and develop what was not before. In the time being of development you are not the one you will be after the proper tone and flexibility, reactivity, power and relaxations are obtained. This is why you have always the impression to go to the opposite, and then changing of direction and having what is the direct correct gesture, when you study singing properly. . . . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #tongue #italianbelcanto #belcantotechnique #belcanto #franciscoaraiza #irmagonzález #irmagonzalez #bravo #helenamatheopoulos

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BREATH MANAGEMENT . This is how it looks the Belcanto prescription of the air out pushing toward the chest. As you can see it does not present head, jaw or neck and shoulders stiffness. It is a gentle forcing toward the sternum with a complete relaxation of constrictive muscles of neck and jaw (also in the low back and under the pelvic floor this pushing presents the same gentle pushing with no stiffness) that we gain by practice and practice and patient practice to surmount the biological responses of closing and stiffening and rendering impossible the contemporary work of horizontal structures. We gain a pushing out with the vertical forces that does not become a stiffness of the structure or of the joints with the horizontal ones remaining with enough flexibility and relaxation and contract capacity to pronounce and make rhythm and colours. Being the fascia the one which makes this transmission and oppositions of different levels of flexibility and contractions possible and balanced. This takes time and especially different phases before this synthesis is possible. . . . . . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #luciacossu #cossumethod #vocaltechniqueforprofessionals #professionalsvoices #voixprofessionels #careofprofessionalvoices #techniquechanteurs #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #italianbelcanto #belcantotechnique #belcanto #breathmanagement #franciscoaraiza #luisatetrazzini #katiaricciarelli #lillilehmann #annesophievonotter

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BREATH MANAGEMENT 2 . Are they in the pushing of the air toward the chest of Belcanto so different? I yet talked about this in a post of a couple of days ago, now I go further in putting on purpose different styles and also with a shoulders coming or dropping forward that could seem a different sternum (call it chest if you prefer) management. No, if you look with attention you will see that it is exactly the same pushing and never collapsing. The shoulders are a part that is important t not to be stiff, and can managed with a correct and effective voice production even when coming forward and almost dropped forward. In the time very often this dropping gets less accentuated in the years since the breath management underlined in its constant use with the voice do correct it. What happens in excellent singer if for some reasons sternum starts not being in this correct pushing out? In this link of Freddie Mercury singing Who wants to live forever in 1986 you can see that when the voice loses clarity and vocal chords adduction is when the sternum closes (those considerations are in the only intent of clarify mechanisms, not musicality or judgments on the singers. We work and analyse mechanisms but we do not lose ourselves in minutiae. Mechanisms are very important for artistic singing, as the absolute respect and gratitude toward all singers who actually do sing and did sing for us and for other humans, be smart in taking in the correct way my considerations 😊✨) https://youtu.be/Z1waL65aMOQ . . . . . . . #voiceteacher #vocaltechnique #functionalvoice #functionalsinging #singing #vocalcoaching #michaelbuble #judygarland #vocaltechniqueforprofessionals #freddiemercury #brucespringsteen #billieholiday #arethafranklin #italianbelcantotechnique #vocalteacher #singingteacher #voice #voiceform #vocalgesture #breath #breathing #italianbelcanto #belcantotechnique #belcanto #breathmanagement #peggylee #luisatetrazzini #katiaricciarelli #annesophievonotter

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On breath and appoggio

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.