Archive for the ‘contact with fears’ Category

I think that each pitch has its own presence: every note has a particular intensity that can be thrown out from our throats.

But we are not just throats… we are people from a community, and the voice is the invisible representation of our beings, and voice can be influenced by our status into the community. Our internal training is a preparation for our throats, as well as public training is a preparation for the ears of other singers near us.

Our voice gets its power from the people that are listening, not from our inner inside. Big singers can sing alone, and they feel satisfied with no other needs. They could live alone in the middle of the country… or in the middle of a big city full of people, whistling and humming little tunes while doing something practical.

We are losing our spontaneousness. The normality of mistaken notes is getting less and less. As the mistakes are becoming rare, our will become stronger and our fear is forgotten. This is bad. We must always keep in contact with fears. We must always respect each other’s fears of letting out their deep parts.

We also get used to sit in a place and don’t move. Singing means a never happening satisfaction, a continuous improvement and development of strange and new things. This is why from the middle of the country we go to the cities in search for foreign ears, that don’t know our part in our community, and that can help us releasing our deepest fears.

Sometimes we can choose between the right note with a standard-trained tone and a new interpretation with a new throat and emotional position. I think that when in concert we should risk, and experiment new interpretations while in front of others. This gives to the listeners our same, true emotion. This is very dangerous, because even if you take the right note, the listeners could not like what they are feeling.

The singing moves listeners’ feelings, and if these feelings go through suffering, or if they go through new and strange complex emotions, the listeners could reject their emotions, without even knowing what they are doing. The public says that singers are bad. They throw outside the problem, they point their finger, and they procrastinate their emotional melting. … but… if you can get that key to their needs, you can sing for these needs, and the emotional obstacles will melt. As usual they will never know anything, they will just say that you are a good singer.

They could say also that you are a good singer without thinking it. But you will know if this is true, or if they just want to keep frozen their emotion.


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when I’m alone my voice has a timber, when I’m in the chorus between other people my timber changes. Why? maybe with fear for the other’s ideas, my respiration changes. If the respiration is not deep enough the voice is shrill and empty. But having a meaningful voice is not matter of artifatcs and techniques. It’s a matter of life experience that needs to come out to be told. Voice is needed for changes, but not always newborns are generated by voice changes.

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