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 not effective crushes you will manage to accord every source of oscillation and manage effective waves produced by movements and actions to have as result not just a not controled mess. Voice production is according all the sources to manage and act on the result, an ego not solved states its existence making a fight and crushing everything not born from him, and it is just so boring and useless. 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 exalting or dialoging with every thing has an effect on stage 😉 )
* I do not mind egos, just care about voice production. ❤
When it happens that you ask a young singer on the same word that the song repeat two times one after the other with the same notes to change slightly vocal position, so slightly not to be really clearly perceived in the throat and nearly seeming the dream of changing position, and a change in overtones appears, a light, a light into the word the second time, but not the first. And you have this movement of light that opens totally another consistence and horizon in the audience, as if the light of a precise nebulosa entered the song. And the singer looks at you without words, the same light in her eyes as she was audience. And she is nearly 15 and she hears that, and she understands, and she understands that you understand and hear too. And we both know that those are the reasons they call her to sing, the reasons she sings and thought happened by casualty sometimes, the reasons you made music your life and they can be dreamt and chased and fixed.
* the song was Safe and Sound from Hunger Games and the word was gone in the second Verse. Taylor Swift changed to change the sound, us to just have the same with this overtone that gave a sound into the note. The singer was MariaSofia Ferrante, not yet 15 then.
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.
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/).
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 anni, One 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.
Professional singing is not natural and it is a wearing activity, that’s why you need a technique. A technique, a good technique, will make yourself and nobody notice those two things and that’s why it is so important for singers to build a proper technique instrument, and for us the professional of voice to ajourn our tools and adjust and evolve them with the evolution of music.