*the series was streamed on YouTube where it remained available for some months (then it was time to let it go and look at the future). Now some clips and a resume in the page dedicated here and some on Instagram @lucia_cossu_voiceteacher #aliceandme #aliceandmetheseries
We are at the end of these 6 weeks, Alice performs again. She decides to stream it on her Instagram while we stream on Youtube. She decides to sing 5 songs. She risks more, enjoy.
Singer since very young, it is twelve months she studies with me. You will hear that she is quite in order but there is a huge difference in bewteen the Dianne Reeves and Alicia Keys’s songs and Withney Houston’s one: this is the diaphragm connection that I long looked for her, not perfect yet in all the passages but connected and so it will be possible to train it and have those passages perfects just by using it and remaining connected. Enjoy!
My first two talks on some fundamental questions of vocale technique, often not so clear in students and singers and not clearly explained through their effects and consequencies so that they remain scary and refused in the first step. Often they are related as the fact that when you cover the sounds you will have in your sound not the effect of copertura but the disclosure of the state of your sustain and appoggio. I mean that not covered sounds have a different kind of pressure from the effective and true sustain (a true sustain always have a copertura effect), so you cover and the vocal folds do not respond anymore to the excess of pressure not correct. You will immediately hear how much the correct and true sustain is developed and the really good news is that with copertura it is safe and not tricky to develop the effective and true sustain. So if you refuse covering you will probably never develop a real and effective sustain, and this just because you were scared by the sound after copertura that was just the first step of the process and not the arriving point of the process. Many things in vocal technique present this two step process, I will try to clarify some of those for you on Istagram in my IGTV.
And the first is on copertura. 🙂
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Why you must not be scared by the covering of the sounds, the also called copertura and why if you initially feel of losing your sound it will just be a transitory phase and you will have back your sound but in a safe and healthy way. All the misunderstanding about why the sound get darker and with a lack of stamina in the first step. A series of technical talks on vocal fundamentals. I am a voice teacher specialised in technique and solutions for professional singers and future professionals. I come from a soloist career in classical music interrupted by a long septicaemia. I relate to Italian belcanto technique and some exercises I invented to make a step forward in the possibility of working on voices. I had results also in vocal issues organic and functional, called by their doctor, https://luciacossu.com/cossu-method-program/
A little talk with the great italian singer Eleonora Bianchini and why a professional like her, ranked 4th italian jazz singer, a stable duo with Enzo Pietropaoli, great career, winner of a merit scholarship at Berklee College, came having lessons with me. What did she found in our work, why it was important to her. Enjoy!
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.
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.
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 crushes you have to manage every source of oscillation and manage the waves produced. We have inside many sources of oscillations and we also react to those outside so we biologically and physically have many sources of waves. Voice production is according all the sources to manage and sum or to manage the waves produced internally to become a sound. An ego not solved states its existence making a fight and crushing everything not born from him, so fighting every wave or source it has not given precedent permission so it and it is just useless and not adapt to have a control. 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 further exalting or dialoging with every thing has an effect on stage 😉 )
* I do not mind egos, just care about voice production. <3
When my artists send to me something to hear in which they push intentions and do not find it in the voice. Very often they still think doing something on the moment to produce the note, they still think singing is when heard. Singing is doing some things with your body and your imagination and emotions put into the body, the sound heard will be just in certain moments as a part made heard of this doing and not a pressing all together just in the moment you want to produce a sound. You produce a sound and a phrase and a movement inside and you just make it heard on the outside: sometimes entirely, often just fragments of that.
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 easily speak, singing impossible. 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 durign the program and after. Now she sings again and as soloist as if she had never had any voice problem.
Here the certificates with the diagnosis of hypomotility of the left vocal fold before logopedic treatment and still the same hypomotility after but but a good compensation gained, singing still impossible for her.
*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.
After logopedy * 06/06/2014 At current control it is confirmed the situation of hypomotility of the left vocal fold, good compensation of contralateral fold
It 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.
After #cossuprogram. During she could get back singing every day and in some 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 hypertrophy 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. 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.
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. Professionals will hear that there is a substantial difference, even if in a subtle way since it has to get some training back after one year and a half of hypomotility. 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 activity, I know it is the start of having after just to make the chord being trained. She could sing in a little celebration of Sandro Pertini Hospital one month after the end of the program.