xmlns:og='http://ogp.me/ns# VoiceTalk

June 23, 2016

Feeling is Listening

This is a statement of fact. It's how the body is constructed, the feeling of listening being a matter of vestibular function, which explains how a deaf singer like Mandy Harvey can sing. Yeah. Really. She can sing, and does so quite well, thank you very much. 

Muscle memory? It is more than that. It's the ear and brain that does the singing. While Harvey's cochlea is fried, her vestibular function—the feeling of the voice—is intact and the principle means through which her voice is guided—vestibular function itself involving a great deal more than balancing the body in space. 

How did Harvey get her voice working again after completely losing her hearing at the age of eighteen? She used a smartphone app to see what pitch she was singing, then felt her way forward. Simple really. So simple as to be disregarded by smartypants people everywhere. You know, of course, that the cranial nerves that regulate sight and hearing run along the same pathway, right? Those who know what they are doing can even look in a mirror and see what the ear is doing in relation to the voice. But what do most people do when they look in a mirror while they are singing? Become self-conscious rather than self-aware. 

Great singing feels incredible. It's a rush, a wave, a cascade of endorphins that fills every nook and cranny of your cranium & body. This is why G. B Lamperti said that you could sing when you felt it in your fingers and toes. That's listening people. Inhale quietly for 18 seconds and you may begin to understand what this means.

Sounds still exist. You can feel music everywhere. — Mandy Harvey

June 22, 2016

The Power of Beauty


"Ninety-five percent of the power of the voice is in its beauty." —Manuel García the Elder 

June 15, 2016

Manuel García's Loss of Voice

History is such a curious thing, at once malleable and subject to interpretation. Let us take García's loss of voice for instance. He himself wrote that being made to sing during puberty damaged it. Yet I know of at least one reputable account of his going to Italy for his debut and trying to sound like Luigi Lablache in order to obtain bad reviews which he would send to his father—the same father who beat him senseless onboard a ship bound to New York from Europe. Young men do strange things to become themselves, do they not? (García also tried to sign up to fight in Algeria, but was dissuaded by his mother and sisters.) But this story—if true—certainly doesn't fit the narrative of a vocal maestro who rocks the world.

I've also read quite a few newspaper accounts of a middle-aged García singing solos & duets in public with students in London. Would that be the practice of a singer who had lost his voice? This begs the question: Did García really lose his voice at all? Or did he construct a narrative which suited his purposes? Smart people use what they have, and I believe it is highly possible that García—whose aspirations were at variance with those of his father—was a genius at self-promotion. He used what he had been given: He wrote a ground-breaking book, discovered the inner workings of the larynx, and in so doing became world famous.

Not bad for a kid who did not want to be a singer.

June 14, 2016

Marchesi's Requirements for a Voice Teacher

My colleague Justin Petersen wrote a blog post on "What It Takes to Be A Voice Teacher," which reminded me of Salvatore Marchesi's words on the matter, Marchesi being a student of Francesco Lamperti and Manuel García, and husband to Mathilde Marchesi, who was a highly successful teacher in her own right. 

The human voice, being a physical instrument, is not only liable to millions of exceptional modifications resulting from the different peculiarities of every single organism, but to the climactic influence, to bad habits, and to physical disorders, which can alter its natural characteristics. Therefore, whatever may be the degree of the teacher's theoretical knowledge, he will never compass an important and continuously satisfactory result, if he lack the three indispensable qualities that act as guides for the human intellect; namely, instinctive intuition, penetrating reflection, and long experience.  The teacher may utilize all the precious discoveries made by modern science, but on the condition that he understands them, and provided he knows where, when, and how they are to be employed. 
Salvatore Marchesi, A Vademcum for Singing-Teachers and Pupils (1902): 7.  

June 1, 2016

The Mother's Voice: Science Catches up to Tomatis

No, I'm not mad. I really did experience what I wrote about in my "seventh heaven" post in 2012, where I recounted a mystical experience listening to a woman's voice—the voice in question mirroring what is heard in the womb. Now it seems there is scientific evidence that proves what Tomatis posited, which is that the mother's voice in the womb has a profound influence on the child and its later development. 

In a study titled "Neural circuits underlying mother's voice perception predict social communication abilities in children," a functional MRI was used to determine what effect the mother's voice had on subjects, the result being that it was found that brain circuits are "selectively engaged in children by their mother's voice and show that this brain activity predicts social communication abilities." 

It must be remembered that there was a time when science scoffed at Tomatis' earlier assertion that the child could hear its mother's voice in the womb, which was subsequently proven to be true. This new research goes further in revealing that the mother's voice has a deep and lasting influence which affects communication.

What does this study have to do with singing? Singing is all about communication, with great singing being all about highly nuanced communication. If there are problems with the development of the child, then problems may result. How might this arise? One such example is the premature baby whose skull is deprived of contact with its mother's pelvis during last few weeks of pregnancy. Tomatis believed this contact, which takes place when the fetus turns over in preparation for birth, has everything to do with the final encoding of the child's brain for later communication; both as self-listening/realization and the child's relationship to the outer world.

See The Ear and the Voice for more information.

May 31, 2016

So You Teach Bel Canto, Huh?

I recently read a post by a fellow blogger (goes with the territory, don't you know), who quoted the esteemed vocal pedagogue Richard Miller, who, half-in-jest, asserted that the master class teacher should avoid claiming to be a bel canto teacher. 

Ok, while I don't make that kind of statement in a masterclass, the late Mr. Miller might take issue with my studio website since I note that my teaching "integrates the principles of the old Italian school," and that I offer "comprehensive vocal training utilizing the principles of bel canto."

And I mean it too: I really do teach vocal techniques that have been handed down from generation to generation. But we're not talking proprietary information. Rather, we're talking about techniques that have been discovered over the course of many years by teachers with open ears and eyes—techniques that can be rediscovered by anyone with equally open ears and eyes.

While there is no magic method called bel canto, there is a body of knowledge that has leapt flamelike from student to teacher (surprising perhaps, but great students do teach the teacher who then teach students), and can be heard in many recordings as well as found in many writer's works—the most interesting to this writer being Hermann Klein (he dropped the second "n" after the first world war), who came to America in the first decade of the 20th century to teach Manuel García's principles of singing.

It is gratifying to me to know that the great American people appreciate the sound theories of the old school and they will assuredly find in you one among its few capable exponents. —Manuel García to Hermann Klein,  July 1901

Klein wrote about García's teachings, and even utilized the gramophone to illustrate his meaning. Klein's effort—which seems to have fallen on deaf ears—can be found in the side-bar on the right. 

Find it there and you'll also find the meaning of bel canto. 

May 26, 2016

The Metal of the Voice

On this question of colour in the voice, the mastery writer and critic Legrouvé says: "Certain particular gifts are necessary if the speech is to possess colour. The first of these is the Metal of the Voice. He who has it not will never shine as a colourist. The metal may be gold, silver or brass; each has its individual characteristic. A golden voice is the most brilliant; a silvery voice has the most charm; a brassy voice the most power. But one of the three characteristics is essential. A voice without a metallic ring is like teeth without enamel; they may be sound and healthy, but they are not brilliant. . . In speech there are several colours—a bright, ringing quality; one soft and veiled. The bright, strident hues of purple and gold in a picture may produce a masterpiece of gorgeous colouring; so, in a different manner, may the harmonious juxtaposition of greys, lilacs, and browns on a canvas of Veronese, Rubens, or Delacroix. 

"Last of all the velvety voice. This is worthless if not allied with one of the three others. In order that a velvety voice may possess value it must be reinforced (doubleé) with "metal." A velvety voice is merely one of cotton. 

"It may be of interest to notice that the quality which in France is designated "timbre," is called by the Italians "metallo di voce," or "metal of the voice." Those who heard Madame Sarah Bernhardt fifteen or twenty years ago will readily understand why her countless friends and admirers always spoke of her matchless organ as "la voix d'or." 

Some singers control but two colours or timbres—the very clear (open) and very sombre (closed), which they exaggerate. In reality, however, the gradations between them can be made infinite by the artist who is in possession of the secret—especially if has the ability to combine Colour with Intensity.