Who am I

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/).2012-09-28-13-15-24
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/2016/09/13/sister-i-another-example-of-my-method/M. 7 years old/ M. 7 anniOne of the participants to my study last year) 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.
It is a sort of way to put everybody to the zero point.

Cossu method: Sister I., an organic damage solved

This is a typical exemple of the results thought not obtainable by phoniatry, and especially  in such a simple and not expensive way.
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 speak, neither sing. 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

Here the certificates with the  diagnosis of hypomotility of the left vocal fold before logopedic treatment (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.   
She had the treatment, very effective with the speaking voice but totally useless for the singing voice.  Few days before the beginning of our work another certificate (06/06/2014 At current control it is confirmed the situation of hypomotility of the left vocal fold, good compensation of contralateral fold) 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.

 

Sister I

Sister I. certificato-ipomobilita-privacy

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 hyopertrophy 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.

suor-i-07122015-privacy_20151207_163547-1

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. You can hear that there is a substantial difference, even if in a subtle way. 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 attack, I know it is the start of having after just to make the folds being trained. She could sing in a little celebration of Sandro Pertini Hospital in the autumn.

 

 

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.

Cossu method: M. 7 years old

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, 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, as you can see and hear 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. And after one year he is still gaining ring and round in the voice.

marco-fini-privacy

Vocalise useful and funny

A vocalize useful to make a stretching of the tongue and an appropriate movement of the center of the basis of the tongue going up on higher notes without putting a voluntary control on, and avoiding the stiffness of larynx often possible with the other exercises with a close pharynx.
And laughing while working can be useful and nice and helping concentration. A funny vocalise of mine, 😀

Cossu method: X. Y., singer

X.Y. 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.X. Y. vocal folds 07:05:2014

 

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.X. Y. vocal folds 24:07:2014

 

 

 

Those are her vocal folds after one year after the end of this work, some months after the cd recording. Now she lives as singer and voice teacher, she has a career she had not previously.

Cercasi persone per studio scientifico

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.

Per contattarmi

mail: luciacossu@rocketmail.com

skype: lucia…cossu

Voice lutist

Lucia Cossu

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. 

I use the term luthier to define the exact work I pursue on voices, I build instruments working on precise muscles and muscular chains and way and time of reactivity and coordinatory patterns. The  new perspective in the voice instrument is due to the real possibility of working on the voice we have, to change it into a better instrument exactly in the same way we can work on wood to have a good violin from it. When someone wants to learn to play violin or piano or guitar he uses an instrument made by a craftsman and the instrument is yet a proper violin or guitar and after the use it is normally put in a protective case or stay in a proper home that will not damage it too much. That is not the case with the voice.

Our body is made and modified by our entire life: habits, physical activity, coordination, what we eat and drink, our hormonal balance and changes, physical accidents, surgeries. Our voice is our body, not only an abstract breath flowing and vocal chords. Our voice is made by our vocal chords as a piano is made by its chords, it is just a part of it and the most fragile one; without many other parts working properly and shaped properly they can’t make well their part, and in my experience that’s from where many tone-deaf voices come. I dream a day where tone-deaf will be no more an ear judgment but in most cases a body shape form to modify and so to render perfect pitch possible in the correct range of that voice. I found that it is possible to work on those deficiencies directly. When we were born we were not born as a voice-body but as a body. Singing, even if can seem so natural in some, is not that natural and requires unnatural coordination and specific settlements of some parts and we have to deal with that. The vocal technique developed on the centuries in a complete and reliable technique is the well known Belcanto technique and structured on tradition and Garcia Method, Matilde Marchesi and all the corpus of voice exercises as Concone, Panofka, Rossini are in that path. Maria Malibran, Lilli Lehman, Mirella Freni, Beniamino Gigli, Giulietta Simionato are representative of that kind of tradition.  It was developed on classical music necessities, and it is useful in its whole for the classical sound and not for the very different and also evolving characteristics of the others kind of music. It contains however in itself the principles of the voice, and those don’t change even when the sound changes. I studied with Giannella Borelli (I often had lessons after Sumi Jo or Chiara Taigi) and Anna di Stasio, two representatives of Italian belcanto School, and I was very lucky in that. My singing, my technique and now my work is in the sequel of those principles and school, and the good and physiological results I obtain are certainly due to that. In this method the work on the body as well as the learning of playing the instrument voice are made at the same time and vocalisation is in the purpose of both the results. To have a development of the same good results in a different kind of sound I have found and defined a corpus of different exercises, with and without sounds that have been useful even in cases of damaged vocal chords and helpful to gain a more healthful state. What is new in my method is just the approach to voice and vocal problems, the adjustment of those instruments to one single person: not everybody requires the same settlement, the possible sounds are so many and the path is to discover together which is the proper sound of the body and the soul of that person. A technique to me is not a only and absolute method leading to the same results everyone but the instrument to make music without damaging ourselves, it is a craft and a freedom, for professionals or amateurs. The voice is the deepest expression of someone and can’t fit the same way to everybody, it is not an abstraction and we don’t have to be submitted having a bad sound just because we have a bad coordination in breathing and we don’t know how to overcome that. It is a work useful for beginners in all styles, for professionals who would explore different possibilities in their instrument and sometimes, in accordance and under phoniatric control, in rehabilitative field.