How to achieve freedom in singing sound “e”.This advice will bring a fantastic result! Guaranteed.

Many of you probably, faced that challenge of singing vowel “e”. By releasing tension during singing it and creating extra space in the area of your throat you increase immensely your potential of extending  your vocal range, fixing your pitch and adding lots of freedom to your singing. This is one of the common problems amongst singers which I am facing. Singers tend to sing this sound in the way they are saying it. Unfortunately, it doesn’t work this way.. This was a problem for me as well for many years. But not anymore:-)

I am going to offer you a great solution of this problem. Here below is the translation of the advice from one of the most successful operatic singers of 20 century Giacomo Lauri- Volpi, his career was very long- 40years, there was no ending to the upper range of his voice. At the age of 90 he could easily sing famous Nessun Dorma. He successfully educated many of other singers. I applied multiple times during my sessions with pupils his advice, again and again it was bringing fantastic result. Simple advice which was giving so much freedom to the voice. Normally, my students were facing instant change, just after one session. I should admit- definitely, it was making me super happy and was clearly showing that it’s working. This technique is applicable towards any type of singing-classical, pop, etc

I have hired a  professional translator in Italy, so you will get the very essence of this advice. Enjoy it!

 

Lauri- Volpi about sound “e”

Tell me, how do you manage to make those terrible “I” in such a clear way?

– You need to pronounce the “I” ( English “e”) keeping the throat open, otherwise you will instinctively close the throat; if you keep/maintain the “I” at the right cervical position/spot then the airflow and the sound will be independent from the vowel but, if the vowel is “trapped” during the emission then you tend to close/narrow your throat. It is necessary that that the throat is independent from the articulation (complex of muscles around the throat) so that the “I” comes out resonant and round still keeping the its own physiognomy. We have to say/express all the vowels and all the words; if you can manage to master your throat, in other words you always have the same sound, the sound vibrations are projected on the skull and they become independent from the articulation.
Rossini was used to say that “A” is the queen of he vowels. French do not have an “A” as resonant as our neither any other language do have. Rossini said the that the “A” vowel was music itself when well played. As a matter of fact if you pronounce the “I” thinking about the “A” you will notice that the “I” will be wide and resonant, and thinking about the “A”, while pronouncing the “I”, will keep and maintain the throat open.

 

Italian version

Lauri Volpi sul ‘I’

– E mi dica un po’, quegli “I” che sono tremendi come fa a farli uscire fuori così limpidi?

Bisogna pronunciare la “I” tenendo aperta la gola, se no istintivamente si chiude la gola, se invece Lei la “I” l’appoggia come si deve al punto di risonanza giusto cervicale allora il flusso d’aria, e il flusso sonoro, è indipendente dalla vocale, ma se la vocale s’impiglia nella emissione allora la vocale stringe la gola, bisogna che la gola sia indipendente dall’articolazione e allora viene la “I” sonora e rotonda, sempre mantenendo la fisionomia della “I”. Tutte bisogna dirle le vocali, tutte le parole; se uno domina la gola, vale a dire che la colonna sonora è sempre quella intatta, i raggi sonori si proiettano sulla cassa cranica e allora sono indipendenti dalla articolazione. La vocale “A”, diceva Rossini, è la regina delle vocali. I francesi non hanno un’ “A” sonora come la nostra, nessuna lingua; la vocale A italiana ben messa è di per sé stessa una musica, diceva Rossini. Infatti se Lei dice la “I” pensando alla “A” Lei vedrà che la “I” viene ampia e sonora, bisogna pensare alla “A” nel dire la “I”, perché la “A” tiene tutto il condotto aperto.

 

The benefits of singing

It’s a very special and interesting subject I would like to discuss with you: positive influence of singing on us as human beings. Many of you realised that after singing we feel differently, more uplifted, more focused, vibrant and energised.. the article which I found recently on popular website DailyOM discusses the subject of singing from a very interesting angle and perspective and I found it quite unique.. I am grateful to DailyOM for giving me a kind permission to share it with the visitors of my website. Thank you!

This fantastic article has been written by Madisyn Taylor . Madisyn is the co-founder and editor-in-chief of the popular inspirational website and daily email, DailyOM and is responsible for all of its content. A recognized leader in self-help and new thought spirituality, Madisyn has more than 25 years experience in personal development and alternative healing methodologies. She has contributed to national publications and is a popular guest on many radio shows.

So here is the article. Enjoy it.

The benefits of the singing

BY MADISYN TAYLOR

The act of singing is one of the easiest ways to raise the vibration of your body as you harmonize with the universe.

Singing is an act of vibration. It takes music from the realm of the unformed — whether that is in your mind or from that magical space of inspiration — and moves it from within to without. From the first breath singing moves the energy in a circular way inside your body. As the breath fills your lungs, it brushes against the second and third chakras — the centers of creation and honoring self and others. Instead of merely exhaling, pushing the air past the fourth and fifth chakras where heart chakra and the center of will and intention reside, singing engages both the heart and mind. Sound vibrations from vocal cords resonate in the sinus cavities, filling the head with motion and sound while the brain lights up with the processing of the mathematics of music. This marriage of activities brings the third eye into play and opens the door for inspiration from the crown chakra before sending the sound out into the world.

Once the vibration begins, it is sustained with each note, moving throughout your body and the space around you. This can help you to harmonize your frequency with the world and with the divine. The use of the voice can bring about catharsis, a cleansing from the expression of emotion, which is why we feel better after singing certain types of songs. All of this occurs even if we are not conscious of what we are singing, but when we really connect with an intention, the power of the voice and music together are powerful tools in creation.

Even if you are not a singer by nature or talent, you are not left out. If you have a voice, it is your birthright to celebrate life with song. It doesn’t matter if you don’t feel you have a nice voice. Chanting or humming, singing solo or with others, your voice is yours to enjoy. Whether you sing along to the radio or use vocalization as part of your meditation time, singing and harmonizing are healing activities that bring your body’s vibrations into alignment with the universe

More about DailyOM

DailyOM features a universal approach to holistic living for the mind, body, and spirit and supports people who want to live a conscious lifestyle.

DailyOM was founded in 2004 by Madisyn Taylor and Scott Blum, and was born out of their desire to bring the world together by offering messages of consciousness and awareness to people of all walks of life.

Read my other articles

Voice and speech skills development. New collaboration. Launching of Youtube Channel.

It was a great experience to help with voice and speech skills development to Dr. Abdul H S Mohammed chiropractor who recently launched YouTube educational channel. He is not only the most recognised chiropractor not just in Manchester but the whole of North West region and have been awarded Top 3 Best Rated in Manchester by an independent authority for the last 4 years. Having worked in Stockport since 2014, Dr. Mo has had the privilege of treating Team GB athletes, members of the Saudi Royal family and TV personalities.Also he is a regular speaker about nutrition and posture to members of the public.

Please have a look at the website https://www.drmo.co.uk/

Press the link below to find out more about Dr Mo Channel

 

vocal coach, voice development

my recent interview to The Telegraph

My recent interview to The Telegraph

I am excited to share with you my recent interview to The Telegraph (https://www.telegraph.co.uk/health-fitness/body/adeles-transformation-singer-slimmed-changed-up-look/) After Vasili Karpiak, an opera singer who has worked with the Royal Opera House, lost weight he found his voice changed. “I realised it’s not my voice any more and I need a different technique.
“The voice does change [when you lose weight], simply speaking from physiology. The body has one size and the vibration, the sound and colour is applicable to that size, when you lose a lot of weight you get a different colour.
“You get a different space for the sound frequencies that are created as a result of the vocal cords, there is less space for the vibration process.”
However, it’s not all bad news: “The stamina of the voice will increase, and if anything I think it has a positive influence on the artist.”

Press the link to read more ( you will need to create an account  in order to read whole article) or if you want to read my blog press here

my recent interview to The Telegraph

LEARN TO SING

vocal coach London, singing lessons

singing lessons, professional vocal coach, how to become a better singer

interview to The Telegraph

improve your voice with professional vocal coach, learn vocal technique

 

 

 

 

 

 

 

 

 

https://www.telegraph.co.uk/health-fitness/body/adeles-transformation-singer-slimmed-changed-up-look/

how to sing better? improve your voice

Brilliant vocal exercise from one of the greatest opera singers Mario del Monaco, which will improve your voice enormously!

I’m delighted to share with you conversation of famous tenor Mario del Monaco with his friend tenor Rolando Ribichesu.  This information will be helpful not only to opera singers.

how to sing better? improve your voice and vocal technique

Mario Del Monaco speaks about vocal technique and shows his favourite exercise. Please read below.

 

 I have requested a translation from a professional native Italian translator, who did a thorough work. Despite the audio recording not being very clear, I trust translator did a fantastic job and information which you will find out here will greatly benefit you. Maestro del Monaco gives a very detailed description of  the vocal exercise which gave him opportunity to expand his vocal range and enrich sound, especially high register of his voice with power and ringing sound. This exercise also kept voice in a good shape during many years of career. Main concept is based not on forcing of the voice, but  on bringing out the singing voice on the whole vocal range with  “altezza del suono” ( literally, height of the voice).  Whether you sing low notes or high notes or you sing in the middle range, the voice is remaining in the same position. 

I very much hope that you will enjoy this article. For more information on vocal technique read my previous blogs.

 

Please press the link and carefully listen to the conversation, it is time to take your vocal technique to a new level!

https://youtu.be/2g1bJG12jms  audio

Mario del Monaco (A)  advice on vocal technique

Transcript of the dialogue[chattering]0.08 – A – Technically speaking your voice is okay but you know have to find the “altezza del suono”. You have to make some vocalizations with “e” or vowels with high frequencies like “i” or “e” but there is a difference between these two vowels: the “e” will flatten the back of your tongue so it gives more resonance to the sound, on the other hand, the vowel “i” is a bit tricky since you have to raise the (tip) of the tongue.
0.42 – B – Ok I have understood.
0.42 – A – You have to use the “i” up to a G flat because it has a similar effect of the vowel “u” …
After so many months with the “u” I will suggest you to start vocalizing with “e” trying to almost avoid the first octave.
1.07 – A – [vocalizing] try to stress out/pratice just the higher notes.
1.15 – A – Try to make a C major chords [vocalizing]. You should try to use the lips as a trampoline [vocalizing]. Then you increase halftone so C sharp. Then {natural} D until {natural} A, E flat, B flat, then {natural} E and {natural} B, so you will see that after a while also the C will come spontaneous.
1.54 – A – [vocalizing] You have to think about your nose; not because of a nasal voice but because thinking of your nose your voice will go higher {I think in pitch is implied}. Even if you produce a nasal sound it is not important as long as it helps you to reach high frequencies.
2.20 – A – If you go for “u” or “o” those are vowels that can produce round sound but they created some issues while reaching higher frequencies. After few months of “e” you can start practicing with “o” [vocalizing] this is like an “o” is not an “e” [vocalizing].
2.44 – A – This is what you have to practice with for a few months. Keep in mind that if you study for a few months with Melocchi’s system but when you sing and you want to {literally translation is to resist…I think he means to produce a long continue sound} you have to forget everything about this method and do the very opposite.
3.01 – B – I have understood.
3.02 – A – That method {Mellochi’s} is just useful to create quantity but you will not have resitance
3.08 – B – Is this sufficient? Since I have not such a powerful voice…
3.10 – A – It is more than sufficient
3.14 – A – You are a good lyrical tenor
3.18 – B – I do not feel so good…
3.20 – A – Clear your ears then. If I tell you are a tenor for Sansone (da Norma) is because you have a voice similar to mine.
3.34 – A – Do not sell yourself short
Inaudible
3.50 – A – If I could have six months of free time I will take it and I am sure I will get brilliant results…but I have no time. I have time just to guide my voice since I have to work on it a lot because to be a lyrical tenor my voice is already too much. I’ll pay to reduce it of a third
4.24 – 4.30 {complimets and random chattering}
4.30 – A – Let’s notice that a big voice is not an advantage…big voices big troubles, small voices small troubles so you do not have to find more than what you have
4.43 – A – You are 32yo, at your age, I was singing Traviata, Boheme….and you also have to know that while getting old the vocal cord’s epithelium grows thicker due to a natural process. It gets thicker even if you do not make anymore those exercises {the ones discussed before}
5.09 – A – Then at 40 yo you have to sing like a baritone and your voice will break off on A.
5.16 – A – I got nothing from nature and I was singing in this position completely rigid.
5.34 – A – You have to play with this and this {I think he means two different positions}. Perigini {I do not understand the exact name} was used to tell me: “When I feel my voice getting harder {to sing} I sing few lines of Pagliacci [vocalizing]” But if you sing everyday like this you will never reach high frequencies.
5.59 – 6.15 [inchomprehensible chattering about Carmen. It is not related to music though].
6.20 – A – Do you feel good with the first act {of Carmen}? I am totally okay with that.
6.30 – A – The pitch can trick you…It seems that I have a big voice but actually it is not. It just has many frequencies.
From here to the and A is just explaining that what he said is a sum of the advices he received from his instructors when he was studying.