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Archive for May, 2012

“We are the champions my friend”. Freddie Mercury of the band “Queen” once sung.

Where does it begin, for example, to become an Olympic champion in figure skating?

It begins from the moment when the parents take their five or six year old to the skating ring.

And then they notice that the child really likes to glide and is not afraid to fall.

Next step they make, they search for a reputable figure skating club, and then, they bring their offspring and hand him or her to the capable hands of experienced trainer.

Then it takes eight to ten years of very hard work for the skater, his/her multiple trainers, his/her parents and finally, a quite substantial amount of money to bring the skater first to the nationals, then to the world championship and then finally, to the Olympic games.

For those who remember Tara Lipinski, would remember that she has won the Olympic title at the age of 14.

It is a known fact that her and her mother actually had to separate from her father and move to another city to train with the coach who was in charge of the Olympic team, ie, of those who had the potential to become Olympic champions.

That formula applies practically for every competitive field.

But, evidently, for some reason, does not apply to the Artists.

When they approach me from other cities, countries, continents, for some reason, they think they could become professional singers or repair their voices to resume their interrupted by inadequate singing careers, via communicating with me either by phone, by Skype or by magic DVD or pill..?

They don’t realize that to power the voice and project it in its aimed destination, takes an integration and synergy between the mental, physical and vocal state.

From my part, it takes a special skill to connect to the artist’s anatomy and physiology, almost by an umbilical cord and through the application of my own anatomy and physiology, and by application of enormous amount of energy of my own.

Then, and only then, I am able to discover and uncover a true spirit/voice from the Artist and shape it in “Olympic” quality product, as now the Artist will sound unique and distinct, not to mention, will sound in accordance with the standards of the professional singing.

Now we have a vocal product, and now, the rest of the “movers and shakers” have to take over.

I know of a person in the UK whose assignment is exactly that.

He puts around the Artists the successful teams.

In fact, he is the one who discovered and made Adele   the six Grammy recipient.

Unfortunately, Adele has experienced some serious vocal problems five months prior to that.

That suggests that one of the components  of the successful team was not met.

This is the riddle for my readers…

Which component do you think Adele has been missing, if any?

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Everybody knows that for example; A Cartier Watch costs a lot of money. Granted, the watch of that kind also looks really good, but mainly, it costs a fortune, because of the construction of the mechanism which makes this watch tick with absolute precision.
It is indeed a very well-known fact that the more precise the mechanism is, the more value the watch will possess. Similarly, the more precise the vocal mechanism is the better quality of the voice the singer will possess.
That means the pitch will be spot on, the body and the colours of the voice will be expressed fully, the volume and projection of the voice will not be even in question.
And lastly, the safety and longevity of the singer’s voice will be assured for life.
Vocal Science technique offers a so to speak installation of such mechanism in the vocalist’s psyche, anatomy and physiology. Vocal Science method advocates the integration and synergy between mental, physical, emotional and vocal state.
On that premise, the vocalist intellectually has to understand what makes that vocal mechanism work with absolute precision, and kinaesthetically, the artist has to acquire the feel and then retain the intellectual understanding and the kinaesthetic feeling.
Once the voice restructured to the set of the facial muscles and they begin to work in full conjunction and coordination with the Artist’s abdominal muscles, the whole equation starts to tick, ie, the simultaneous application between the lower abdomen, upper diaphragm, structure of the sound, placement of the voice and the actual aimed projection of the voice are complete components of the precise vocal mechanism which makes the voice tick with absolute precision, thus, makes the Artist’s voice impeccable and invaluable at all times and in all instances.

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