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Show de Divas

My training as a singer was not achieved in one day. Of course, the pleasure of singing was immediate and irresistible, but it was necessary for me to research long enough and in many directions to completely open out this so extraordinary instrument which vibrates inside each one of us. If I had to find an analogy, I would say that to sing is a little like cooking. Everyone can cook, even without particular knowledge. One can make good homely dishes only by using intuition, but if the pleasure of cooking pushes us to seek blending of increasingly subtle savours, to cultivate this art which fills the palate with wonder, it is preferable to get to know the ingredients and get acquainted to them. The same applies to the voice. Everyone can sing and it is fine. Let us sing freely, use this so unique instrument which naturally lives in us from the day we were born… and above all, let us not damp enthusiasm!

If we really want to discover this instrument, the pleasure of its innumerable colours and nuances at the same time as to know its power and its unicity, it is necessary “to work” in order to discover one’s voice.

things are simple:

even if this process of discovering may take some time, the rules of setting into vibration the sound body-organ and of its resonance are simple. The cries of the baby who has very limited experience of “extra uterine” life and as such has not been through the “educational mould” is an good example of this “simplicity”.



To let go:

If the principle of letting go has often been dished up in every shape, the concept is important because it defines perfectly the idea that we often put ourselves across our own way. It is not a question here to enter on “psychological” grounds (even if it is certain that the voice is closely related to psychism and that a parallel work in that field may prove profitable), but to apply techniques helping in order to release the “benchmarks” which block us in this discovery of what “our” voice really is. and to agree to go towards new trainings.

The teacher must have tried out these feelings and have an long experience in the transmission of his pedagogy:

To manage to explain to a student how to produce a sound and to improve its emission in order to find the brilliance of their timbre, requires from the teacher a thorough knowledge of the instrument and an immediate instinct to hear in the right way, and to find at once a solution adapted to each and everyone

It is the whole of these great aspects of vocal work : breathing, yawning, relaxation, support, stretching…which enables the student to go further in their blooming as an accomplished singer. Although precise exercises approach these actions separately, it is essential that they are put in practice together most of the time.


The yawn:

The flexibility which is the main feature of the membrane known as “the velum”, and which raises naturally in our mouth when we yawn, allows the voice to be in real empathy with the space surrounding. In “taking down” the jaw with a stretch similar to that of the yawning process, one provokes actual yawning : its resulting sound then takes the color of the muscles it meets.

If those muscles adopts a high and “warm” position, the sound will be round and noble.
By not releasing the high-pitched sounds too quickly and by adding the concept of stretching out towards the “head voice” and above cranium, one acquires vocal health, a perfect homogeneousness of the instrument, as well as safety in treble up to the extreme limits of one’s voice, and the full richness of a vocal pallette allowing to sing in a clear and round way, brilliant et supple, on all one’s vocal range.

The possession of this technique thus makes it possible to be assured to then sing in a more confident way in public while limiting stress greatly, since one knows that unless in case of sickness, the sounds will be always placed in the same way, in the right place and totally free. One can then be completely devoted to the sole pleasure of singing

The abdominal support:

The voice cannot exist without breathing. And apart from the rather brief register of the spoken voice, the air which circulates in us requires energy to come to strike the cavities of our cranium, to become a sound while developing in our resonators…

By maintaining a tonic opening of our ribcage, we allow our diaphragm to play its part as a “piston”:
When we contract our abdominal muscles, which are expiratory, our diaphragm slackens by muscular sympathy, going up a little and increasing the pressure under our lungs…
that is where we sing!

If on the contrary logically we slacken these abdominal muscles completely, the diaphragm goes down while contracting: it is an inspiratory muscle, which in some way captures the air from the outside, allowing in Bach, Handel, Mozart or Rossini, essential and very fast air intakes.

The abdominal muscles and the diaphragm thus work in perfect antagonism. It is to be noticed that it is often more difficult “to release” completely one’s abdominal muscles (the center of energies, called “chi” or “ hara” in the Eastern culture), than to contract them…

Our education and the training for life is probably involved in it.
There is never a need “to push” with one’s muscles towards the bottom of the body, the weight of a relaxed body is largely enough to be “anchored” in the ground, thus being able to benefit from the stretching of one’s voice (the same voice you use to call somebody from a distance). All the art of singing consists in using abdominal muscular support only when needed , and to be slackened the rest of the time!!



Control :

Once the technical bases are mastered, and one is able to anticipate and thus easily overcome all the difficulties of singing, the true pleasure will begin : you are the “master on board” and you smile to have to only press on the few keys of your personal computer so that everything functions…

you can then be devoted to the music and your communication with the audience.

Download My teaching
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