Voice lutist

Lucia Cossu

october 2012

A new perspective on voice, thought as an instrument and a player in the same body and soul, and the necessity of a  focused work to obtain the best instrument and the best player possibles.A perspective useful for beginners, professionals and in rehabilitate field.

I use the term Lutist in the ancient definition of a string instrument maker, and I talk about a new perspective in the voice instrument due to the real possibility of working on the voice we have to change 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.