Archive for the ‘emotional training’ Category

The rules of the teacher should be the only law. But everyone is always speaking of the daily football match while separated parts of the chorus are training alone. So I developed my own, silent set of rules to survive to general bad behaviors. I dig myself into a deep never responding silence, I open my mouth only when asked by the teacher, I try to listen always to whom is singing or training with the teacher, I adopt the absolute silence even if someone says directly to me something when we are still in lesson. The only rule is: no communication. Communication means not only the voice, communication means also every facial expression, eye gaze, nerv tension. I try to be so void that noone would ever speak to me again.

Last year I broke my rule 2 times, and 2 people left the chorus. These losses taught me never to broke again the rule, and today I was so depressed about general bad behaviors even during a new song briefing that I thought I would have left the chorus by the end of the lesson. Then I thought I could menace to leave if the people didn’t pay attention to the teacher. Then I thought I could ask the people to pay attention with gentle manners.

Then it was my turn to lead sing, so I tried to put all my thoughts inside my song words. I think I missed the song meaning, the words sounded different to everyone and I noticed baffled people. I could only hear my voice stronger than every other time as soloist, and I had to close my ears to avoid over exposure to high volume. I know this sounds funny. I know people are often laughing at me. This only makes me feel lonelier, and this only makes me hope in achieving enough skill to let the people understand all my unspoken words.


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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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We pass through high moments and low moments. Sometimes we keep flying for some meters, sometimes we stay below the ground level. Having strong bass voices is important, but keeping the note is important too. I don’t like young people singing because their voice is often empty and their way to take the note gives poor results. I wish young people could stay silent while the older learns singing and expression. Expression and feelings are given only through living experience, not through voice quality or right pitch.

Taking the breath is indeed the most important part, deep into the tecnique and emotional traing. While inhaling we prepare our palate and we make our feelings ready to be expressed through our throat. I cannot always take my best breath because we let everyone breath freely without teachings or expansion setup… and I need more time compared to common timing to fill up my periferic lung corners. Keeping in thouch with other people timings is a good training.

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