Reverse Engineering: The Master Singer’s Technique - The Liberated Voice

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02/16/2016

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Mezzoihnen

Oh, Claudia! I cannot get over how much I love this post! Thank you, thank you, thank you for taking the time to write it. I had a very similar experience in discovering that I "was just singing..." for most of my educational experience and had no real understanding of the technique behind it. No wonder I wasn't progressing the way I wanted to. I had wonderful teachers but we just weren't having the right conversations. Finally, it occurred to me to really dive into the theory and pedagogy because I needed to help myself find answers!
Thanks again for writing so eloquently about all of these topics.
Yours,
Megan

Don_Kruger

Thank you so much for this blog! I whole-heartedly agree with the great need for reform with respect to training singers with a more complete knowledge of vocal technique in our conservatories and music schools.

I am private voice and piano teacher working out of a studio in central Florida. I teach some young singers as well as retired folk. I've been most interested in two aspects of technique lately: 1. Inhalare la voce; and 2. Appoggio points in the bucco-pharyngeal region (appoggio at the teeth, palatal appoggio, appoggio at the nape of the neck). Have you discussed these subjects in a post or column, or have you had any interest in them? I'm interested in the potential role they play in regulating subglottic air pressure.

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