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. 🙂
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!
I intentionally call it contemporary now, meaning that now his technical statement is something that gives answers to this precise historical and artistic moment. I call his precise statement the first ten vocalises of his method, and what he really wants in them. My teachers had misunderstood how to do them and they all said to avoid doing, that chest voice was too heavy and dangerous. Garcia did not want the chest voice as XXth century has understood it; he wanted a very special way of proceeding to find it. He wanted something that some will find not balanced enough, it is instead able to structure the breathing before pronounciation. He wanted before to structure muscles and after to start putting movement and pressure in it. He wanted that A belcantista that you find by having an inside position of O or U (it depends on subjectivity, after it becomes the neutral position of Seth Riggs) and having the breath just creating the sound without any kind of real pronounciation and letting an elastic movement into the larynx. For some can be a too high larynx position, and it is true if badly intended. If well executed it is just the light principle and what was called to sing on the soffio del fiato, meaning on the just surface of breathing. This is something that was the centre and specialization of Italian belcanto school, so useful for damaged and young voices, so useful to find a sound that seems more from the Universe and the void and the lights of it than from Earth and for this in those days of changement so contemporary. It is like to get into the light and meaning of notes avoiding too much of what Frenchs call ‘chair’, the flesh, the so moving and plenty of things flesh is but too plenty of muscles and vessels and liquids and taste to be the straight the urge of modern needs. It will of course change again (I am yet working to have it back in sound but from this new starting point, and not the old too grounded, and know that it will be correct the time of training it, a couple of years for musical market), but it is the difference between contemporary yoga vinyasa and Iyengar, the flow and the new way of absorbing and using prana, and using yoga to render hommage, consistency and phisiology to changes. I love Seth Riggs work, I love my great master Giannella Borelli, I think now we need and understand better how to use Garcia really and completely and then surpass him, thanking him for this so contemporary statement as it was Schumann’s one (true innovators talk especially to some generations after, really after). Think that contemporary is using Garcia to get to Rihanna through Mozart (listen to Love on the Brain and Mozart Abendempfindung and you will have a surprise if you listen well) and new music, as to really get to Schubert I think you have to get through Schumann and take away from him the heavy old romantic sense and find that light and kind of direct dialog thet now we can see so well in the ordinary days.
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.