One-to-One Private Singing Tuition
Bel Canto!!! Not Can Belto!!! (Beautiful Singing!!! Not Belted Singing!!!)
Description:
This is a rare opportunity for singers, artists and aspirants to take a real positive step in the right direction in learning the art and craft of 'Natural Vocal Production' and unimpeded 'Mother-Natural, Physiologically Strain-Free, Vocal Production'. The former emphasising the nature of the vocal sound quality and timbre and the latter specifying the mechanics and means by which it is achieved. The student, by working One-to-One with Antonio and his specially selected team of qualified teachers trained by himself in this artform, immediately receives personalized attention.
Personal vocal problems are immediately addressed and dealt with to assure a more correct approach to the usage of one's voice and body while singing. The student also learns both in theoretical and practical application the importance and correlation between pelvic muscular sustainment, and frontal abdominal and posterior lumbar (middle and lower back) muscular support. In addition, All contributing physiological aspects and functions related to the coordinative phenomenon of correctly balanced anatomy and acoustic vocal production are continually addressed.
These include:
 Breath management
Breath enhancing techniques and correct anatomical behaviour (ie. quiet, open and intense, intrinsic and extrinsic, physiological action. NOT violent, impeded and discomforted physiological behaviour)
Correct forward Vocal Placement
Correct Forward (Tonal) Projection. Correct Forward DICTION. Plus Art of correct OPEN MASKED singing! ( ie. correctly sing through the mask! ) NOT closed, shoved, pressed or forced MASKED singing!!!
(ie. DO NOT incorrectly sing into the mask!!! ) Correct Open Throated Vocal Placement
= Deep-Throated + High-Headed + Forward-Mouthed + Back-Throated FOCUS of Tone!!!
Correct Natural Diction
Natural Mechanics of Vocal Articulation and Enunciation
Quiet body
(ie. non-violent, yet intensely-focused, physical actions) and Quiet ( but intensely
focused! ) Open Throated singing. NOT violent body or violent and impeded throat
singing.(eg. incorrect, unnatural trembling of body. Trembling or violent laryngeal
oscillations, impeding spasms in the tongue muscle, jaw muscles and facial muscles,
etc.)
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Osseous Resonance and Floating (supra-glottal-focused) Osseous Tone.
NOT sub-glottal Grinded Tone, sub-glottal Pressured
Tone or Throaty Muscular Tone)
Squillo
(Shining Metalic Ring/ Bell-Like Tone)
and art of Focused Tone (see also No. 21) Violent and (Non-Violent or gentle) stroke
of the glottis. And Open and Closed GLOTTAL ATTACK!!!
Vocal ASPIRATED ATTACKS and
their advantages and disadvantages!
Art of Clean Vocal Attack (ie. Ringing, resonant,
full Open-Throated Production + directed perfect pitch + perfect placement of voice
on immediate onset of vocal tone) And fault of Unclean Vocal Attack (ie. scooping,
sliding, slurring, untuned, throaty, hoarse and croaky, weak, breathy and unfocused voice on immediate
onset of vocal tone)
Correct Pitching and Intonation (Aural Training)
Ear and Throat synchronisation
Speech and Voice Therapy
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Intrinsic and extrinsic coordinative muscular action
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Facial Expression
Dos and Don'ts of Facial Expression and Body Posture
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Correct and incorrect Throat Physiology and Natural Voice Behaviour
( eg. Do Not artificially lift (consciously and deliberately) the SOFT PALATE yet
instead correctly allow it to move freely according to its own free will. Do Not
lower or raise the LARYNX artificially (consciously and deliberately) yet correctly
allow it to move freely according to its own free will and always in subservience
to the commanding dictates of Natural Diction's physiological mechanism. Do not Artificially
Timbre the vocal tone! Yet instead allow the Natural Speaking Tone to take its developing
course of study and allow it to evolve and also to grow and mature its natural osseous
resonances and vibrations through a carefully nurtured and most vital Open Throated Vocal Production.
Do Not sing with Sub-glottal Air Pressure (Air pressure under the glottis) yet instead
sing with Supra-glottal Focus of Tone (focus of vibration above the glottis). Open, Closed and
Covered TONE (And the natural physiological backward tilt of the Cricoid Cartilege in Upper Passagio for
vocal opening in high range) |
Chest, Middle and Head Voice
The art of Vocal Homogeneity Regular Vibration and Natural Vibrato
(ie.Vibrant Spinning Tone)
Irregular Vibration and (False) Unnatural Vibrato (ie.Tremolo tone and Wobbly tone)
Muscular Tonicity (NOT Muscular Rigidity)
Intense quiet energy (NOT relaxed lifeless energy)
Correct (Simultaneous) Tension and Relaxation
Quiet and intense physiology with correct submission
to steady and even diaphragmatic pressure (and NOT submission to successive violent jerking or agitation of the diaphragm muscle)
The Art and Physical Sensation of "Letting Go" (ie.Submitting entirely to intense anergy and physical dead weight while in the act of singing)
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Release!!! Do not push or pull body in any direction specially at waistline.
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Art of Focused Tone
and Perfect Intonation (Aural training) Correct FULL-FOCUSED TONE (ie. clean, compressed,
osseous-ringing vibration of tone) and faulty and incorrect SEMI-FOCUSED TONE (dirty,
uncompressed and breathy, hoarse or croaky vibration of tone)
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Voice Irregularities:
Register Breaks and Vocal Passaggios, Register HOLES (ie. absence of middle voice or non-phonating (non vibrating) voice in varied sections of vocal range)
Many serious conditions and problem issues already present or later surfacing are addressed such as:
- Common Tongue Muscle Tension and laryngeal Tension
- Common neck tension, body tension and jaw muscle
tension (Drop the jaw NOT pull on the jaw)
- Common Facial Tension and Mouth (Lip and
Palatal) Tension
- Raucous Voice, Husky Voice, Hoarseness, Gravelly Voice, Strained
and Tired Voice
- Forced Vocal Cords and Pathological Vocal Conditions (eg. Nodules,
Polyps)
- TMJ Syndrome, Facial Ticks, Speech Stuttering
The student also learns to sing in all musical styles and languages and is taught the varying distinctions in practical musical delivery to assure an effective and convincing rendition of the given style of music. Such issues addressed include:
- The Art of Pure and Impure Lyric LEGATO Singing.
- The Art of Perfect and Imperfect vocal LINE
delivery (ie. consistent forward flowing vocal energy (Not retrieved and witheld,
uneven flow of vocal energy ) + even volume + even tone + perfect pitch + smooth
legato phrasing )
- Chiaro-Scuro (Bright-Dark tone)
- Diction - Correct Physiology and Stylistic Accent
- Language Modification and Authentic Language
Accent
- Musical Sight-Reading 6. Stylistic Singing
Antonio's teaching method is based on natural, physiological,acoustic law principles. He is particularly focused on the conviction of highlighting the advantageous and uncompromising approaches to singing by bringing the student to a thorough level of understanding of their own voice and body in their approach to singing. The student learns to obey the simple principles of mother nature and the laws which govern her.
The end result is:
- Natural, Physiologically, Strain-free, Vocal Production
- Original sound (Unique and inimitable tone related to your speaking voice)
- Open throat!!! ( ie. unimpeded and comforted throat with powerful ringing tone, projecting
volume, and velveted silky timbre )
- Intelligibility and physiological ease and clarity of diction
- Solid natural acoustic vocal projection for theatre (Grand Opera, Musical Theatre, Operetta)
and modern microphone singing (live stage) in All styles Personal gratification, confidence
and belief in one's own singing.
- Complete knowledge, understanding and confidence of vocal technique (without pending doubts
or states of confusion)
- Complete vocal range and understanding of voice type
- New, non-fatigued, healthily vibrating, resonant speaking voice (NB especially after long
bouts of singing and speech dialogue acting )
- Perfect intonation
- Healings from life-time stuttering, facial ticks and spasms, and so fort
