Antonio’s Philosophy / Quotes


Where “Natural Voice Production” is our passion and purpose

Where vocal freedom and truth of expression are our goal and ultimate dream

Where “Natural Voice Technique” is revealing and liberating and vocal strain and vocal limitations are conquered and forgotten

Where inner talents of mind, body and spirit unite and the Natural Vocal Artist is born!!!

Singing lessons are sought after for many reasons. At AML Golden Voice Studio in Melbourne we find out what your goals are and work with you to try and achieve them!


  • Do you wish to be able to sing at the same level as a world class singer?
  • Is singing comfortably, stylistically and complete with PERFECT PITCH!!! in all musical styles
    with no difficulty whatsoever what you want?
  • Would you like to be singing to your heart’s content for hours without causing yourself
    inflicted harm, pain and unnecessary damage to your throat or speaking voice? ( NB: Specially after
    long bouts of singing or acting)
  • Are you tired of feeling compelled to constantly search for the ‘right’ singing lessons,
    singing teacher, teaching method or vocal technique.
  • Are you disappointed, unsatisfied or more confused than ever before and not convinced of what
    you have already been taught? (ie. pseudo band-aid techniques)
  • Do you want to sound great whether it’s Grand Opera, Classical Singing, Modern Singing,
    Musical Theatre, RnB, Jazz, Rock, Rock & Roll, Pop, Blues, Operetta and so forth?


Then learn to sing like some of the greatest natural singers of all time:

Enrico Caruso, Titta Ruffo, Antonio Scotti, Fernando De Lucia, Giuseppe de Luca, Carlos Gardel,
Luisa Tetrazzini, Nellie Melba, John McCormack, Rosa Ponselle, Giovanni Martinelli, Amelita Galli
Curci, Beniamino Gigli, Lauri Volpi, Tito Schipa, Toti Dal Monte, Lily Pons, Afro Poli, Emilica Vera, Gino Bechi, Lauritz Melchior,
Antonio Cortis, Aureliano Pertile, Miguel Fleta, Galiano Masini, Giuseppe Lugo, Achille Braschi,
Jussi Bjorling, Franco Corelli, Renata Tebaldi, Maria Callas, Giuseppe Di Stefano, Luciano Pavarotti,
Nelson Eddie, Jeannette MacDonald, Mario Lanza, John Charles Thomas,Gregory Kunde, Marika Rokk, William
Matteuzzi, Lando Bartolini, Ella Fitzgerald, Al Jolsen, Bing Crosby, Doris Day, Frank Sinatra, Elvis
Presley, Aretha Franklin, Diana Ross and the Supremes, Soul Sisters: Gloria Gaynor, John Denver,
Barbara Streisand, Dusty Springfield, Nina Simone, Billy Holiday, Tony Bennet, Perry Como, Freddy
Mercury (Queen), Paul McCartney (Beatles), Shirley Bassey, Eagles, Michael Jackson, Whitney Houston,
Gloria Estefan, Mariah Carey, Bono (U2), Celine Dion, Ricky Martin, Brian McKnight, Beyonce, Vanessa
Amorosi, Michael Bubble, Delta Goodrem, Tom Jones, John Farnham, Christine Aguilera, and many more.

Their singing techniques, ever so similar, respecting scientific laws of natural singing physiology
and acoustic principles (IN VARYING DEGREES more or less!!!) are what have made them originals and
immortals of their times and eras in all genres, styles and musical backgrounds.

Singing lessons at Melbourne AML Golden Voice Studio (for Singers, Artists, Actors and Performers)
are headed by Antonio Maria Lancuba, a master of ‘Natural Vocal Production’ and ‘Mother-Natural,
Physiologically Strain-Free, Vocal Production.’ The former emphasising the (correct and exact) evolutionary
nature of Speech-Level sound quality and timbre production and the latter specifying the freeing
processes and means of complete Open-Throated mechanics! Students learn to sing in the most natural
way possible and this tuition is exclusively rare to find!!! Singers learn to sing with a true art
of correct vocal management. They learn to sing perfectly balanced with rich, powerful, projecting,
theatrical volume. The voice, like wine, matures healthily to a homogeneous ringing tone quality
coloured amply with velvety and silky timbre. It also acquires perfect intonation and range flexibility.

During our singing
lessons every student experiences a journey of exciting vocal discovery learning to sing with one’s
entire body vibrations and resonances by perfecting the art of vocal focus through osseous placement
as opposed to muscular effort.

Through this they achieve maximum power and richness of tone at a cost of very minimum physical
effort. There is no usage of electronic aids and amplifications while learning this natural acoustic
approach to singing.

Antonio’s guaranteed teaching system and principle is focused on achieving clear, audible,
theatrical projection. He and his self-trained teaching staff have helped and continue to help heal
many kinds of vocal ailments, aural deficiencies and problems such as:

  • TONE DEAFNESS!!! Bad pitching and musical intonation difficulties!
  • 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 & palatal) tension
  • Tired and strained voice
  • Facial ticks and speech stuttering
  • Bad vocal cord and throat conditions! Forced vocal cords and pathological vocal conditions (eg.
    nodules, polyps)
  • TMJ syndrome
  • Raucous voice, croaky or husky voice, hoarseness, gravelly voice
  • Irregular Vibration: unnatural and untuned wobbling muscular tone, tremolo tone, goat bleat voice,
    nasally voice, shrilly voice, (instead of : Perfectly Pitched, Fine-Tuned, Steadily-Spinning,
    Full Open-Throated, Rounded and Velveted, Ringing Tone)
  • Vocal violence (violent singing physiology)

Antonio’s years of experience conducting singing lessons promises singers a happier more
satisfying healthy production. This is achieved with effective overnight vocal therapy techniques
and exercises catered to suit each individual need and problem.

Antonio’s study programs incorporated in his singing lessons:

  • Vocal Technique
  • Vocal Coaching
  • Voice Therapy
  • Speech Therapy

Antonio’s Quotes

  1. "… DO MAKE NOTE !!! that the ART of "BEL CANTO" (translated as "BEAUTIFUL
    SINGING") IS NOT!!! a vocal technique AS MANY SO IGNORANTLY believe it to be … it is a way
    (or manner) of singing technically, musically, stylistically and interpretatively … it is therefore
    founded on solid vocal principles:

    1. melodic singing executed on the vocal sustainment of vowel sounds (NOT sustainment of consonants
      as in JAZZ)

    2. PURE LEGATO singing and phrasing ("LYRIC" singing) concentrated on vowel sound sustainment
      as opposed to sustainment of consonants

    3. REGULAR VIBRATION for the purpose of remaining true and correct to acoustic pitching and tonality
      (NOT wobbly, bleaty, tremolo tone!)

    4. Clean and gentle vocal attacks and cut-offs during melodic emission

    5. Maximum intelligibility of the word (CLEAN ARTICULATION + CLEAN ENUNCIATION = CLEAR, INTELLIGIBLE

    6. Refined execution of deeply heart-felt vocal expression (and vocal emission) plus sentimental
      and stylistic melodic invention

    7. A technically perfected plus musically mastered knowledge and know-how of the practical use
      of the vocal APPORTAMENTO

    8. NON -VIOLENT singing plus NON-VIOLENT VOCAL expression.

    9. Complete musical and vocal technical mastery of the MESSA DI VOCE … SMOOTH TONE
      SWELLING (ie. SPINNING vocal tone expanding and broadening in TONE RESONANCE while also increasing in volume loudness without loss of tonal FOCUS and tonal PROJECTION!!!) … and … SMOOTH TONE DESWELLING (ie. SPINNING vocal tone contracting and narrowing in TONE RESONANCE while also decreasing in volume loudness without loss of tonal FOCUS and tonal PROJECTION!!!) … plus vocal CRESCENDOING (raising volume loudness)
      and vocal DECRESCENDOING (lowering volume loudness)

    10. PURE VOCAL LINE 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 )

    11. Mastery of inventiveness in rhythm and timing through the interpretative use of the ACCELERANDO,
      DECELERANDO, ALLARGANDO, RITENUTO, plus RUBATO (for acting purposes and interpretation of drama)
      … these vocal and musical , stylistic characteristics if achieved and perfected with refined
      musical taste will result in the singer succeeding in producing "BEL CANTO"

  2. "… don’t hold your tone…let it hold you …"

  3. "… a great technique is a hidden technique …"

  4. "… don’t relax … let go! …"

  5. "… when singing, look with your ears … not with your eyes … listen with your ears
    … not with your eyes …" (ie: do not rely on looking at piano or instrumentalists for musical
    guidance) …

  6. "… One sings songs when one has a voice … not when one is trying to find their voice…"

  7. "… do not listen to your voice externally… listen to it by feeling it internally …"

  8. "… don’t let the emotions affect the quiet nature of the intense vocal mechanism while
    singing …"

  9. "… sing through the bones … do not sing through the muscles …"

  10. "… bigger breath shortens the phrase and diminishes the power, richness,beauty and resonance
    of the tone … smaller breath does the total opposite …"

  11. "… freedom is the absence of effort …"

  12. "… openness feels like the absence of touch …"

  13. "… form of mouth places the voice …"

  14. "… the word forms, shapes and commands the tone … the tone must not cover the word …"

  15. "… focus the glottis … purr the tone …"

  16. "… do not push, press or grind the tone …"


  18. "… find the placement … do not find the tone … the tone will find you …"

  19. "… let the voice take you … do not you take the voice …"

  20. "… the middle voice position is the full open throat position … learn to focus it …"

  21. "… the verbal lips and the vocal cords are directly linked …"

  22. "… the HUMAN WILL is MASTER of the VOICE … the conscious and sub-conscious must agree
    as one …"

  23. "… the natural tone is original and unique and doesn’t resemble any other singer’s voice
    … it has no premeditated aural sound … no prepared vocal positions … it is spontaneous and
    liberating … the word is the commander in chief …"

  24. "… by not holding, pulling or pushing, the body does it for you …"

  25. "… let go of your voice and your body … and they will let go of you …"

  26. "… don’t and it will …"

  27. "… the centre of the voice’s tessiture is the most potent, most-easy-to-tune, most flexible
    and agile tone … find it … and when you’ve succeded never move away from it or problems will
    arise …"

  28. "… the dark and reedy bass resonance (from the vibrations in the chest cavity) adds size
    and magnitude to the tone … the middle voice resonance (from the "OPEN" vibrations in
    the larynx, pharynx and mouth cavities) coats it with silky and velvety flavour and beauty … the
    bright, shrilly, ringing head voice resonance (from the vibrations in the cavities of the skull
    ) gives it liveliness, carry and ringing vitality … learn to blend and mix them into one homogeneous tone throughout the entire vocal range! …"

  29. "… natural singing is the direct extention of speech … it does not delimit nor differentiate
    between musical styles – especially between pop and classical – when it is fully matured and refined
    it looks, sounds and feels effortless to achieve and is aesthetically appealing …"

  30. "… NOT Belted Singing!!! But FULL OPEN-THROATED Singing …

  31. "… the lips are the hands … the vocal cords are the reins … the voice is the horse

  32. "… always work from inside-out … NOT from outside-in!!! …"

  33. "… energy goes down and voice (pitch) goes up … energy goes up and voice goes down …"

  34. "… small breath focuses tone … large breath does the opposite …"

  35. "… open throat is the unimpeded, non-bloated, unpressured, hollow sensation in the larynx,
    pharynx and mouth…."

  36. "… singing correctly feels like RELEASING & LETTING GO!!! … it is intensely energetic
    and focused … there is no relaxing at any time … no feeling stiff … and no violent notted-up
    or twisted, physical, muscular sensations anywhere in the body!!! …"

  37. "…VIBRATION is the touch sensation of the bones in motion while phonating the voice …"

  38. "… RESONANCE is the echoing noise emanating from the bones in motion while phonating the
    voice …"

  39. "… seal the vocal tone … seal the diction … seal the vocal expression …"

  40. "… there must be no air escape in the voice (breathy tone, husky tone, etc.) … only
    sealed, vibrating, vocal tone …"

  41. "… when humming there must be no air escape from the glottis, nostrils and mouth and no
    bloating in the cheeks or under the chin and neck at any time …"

  42. "… NOT violent glottal attack … but gentle glottal attack …"

  43. "… do not open the jaws yourself … let the voice open them for you …"

  44. "… when opening the mouth wide (especially for high notes!) … open vertically and horizontally
    to avoid jaw tension … think of the CHRISTIAN CROSS!!! …"

  45. "… when expressing and emotionalising ones interpretation of song one must not let the
    vocal expression alter the natural speaking tone quality of the voice…but instead one should learn
    to explore the differing shades of ones tone through the varying colours of vowel and consonant
    pronunciations … be careful, however, to not distort the natural shape and sound of the vowels
    and consonants by making them unintelligible and distant to the natural speech …"

  46. "… regular vibration … not irregular vibration …"

  47. "… NO to rigidity! … YES to tonicity (elasticity)! …"

  48. "… when singing, talking, and orating … NEVER pull or push from the waistline … just
    release and let go …"

  49. "… when singing, talking and orating … abdomen steady (not shaking or trembling) and
    released in outward direction from waistline plus back straight and head straight …"

  50. "… without adequate and proper lower-back lumbar muscle support and frontal abdominal
    support (plus correct, tightly focused glottis!!!) the diaphragm can do very little to sustain and
    support the breath and entire vocal instrument …"

  51. "… appoggio is the leaning pressure sensation of compressed breath felt against the upper
    chest cavity which gives the vocal tone the sealed, riding and purring sensation during tone release

  52. "… a wrong and unnatural singing method may feel comfortable for many and be misleadingly
    attractive at first … but the fruits (in the long term!) will render obvious the wear-and-tear
    effects of its injurious and deceivingly fallacious nature …"

  53. "… a correct and natural singing approach (wholly based on truth!) may appear and sound
    initially unattractive…if granted, however, a non-pressured and non-rushed time period for the
    voice to evolve according to its nature, the singer will experience a fruition of aesthetic, vocal
    beauty and vocal appeal plus vocal health longevity …"

  54. "… The correct GENTLE VOCAL ATTACK ("Colpo di Glottide" – "Hitting of the
    Glottis" ie: starting of the vocal tone) is exactly like biting the breath and tone gently
    without any violent bumps, pushing or nudging …"

  55. "… let the pronunciation straighten up the voice … do not let the voice bend the pronunciation
    out of shape … do not let the tone distort the word … instead let the word focus and straighten
    up the tone (as does a magnifying lense focusing sunlight into a narrowed beam of light) …"

  56. "… to feel hollow from head to waistline while vocalising is the natural sensation and
    the only hygenic way to sing …"

  57. "… if while singing you feel the root of your tongue muscle stiffening uncomfortably …
    or your neck and jaw muscles contracting and stiffening (either slightly to very excessively) (NB:
    leading eventually to more serious and varying degrees of uncontrollable facial, jaw and tongue
    muscle spasming, ticking, trembling and shaking) … or your body hardening or contracting in a
    stiffening manner while singing in any vocal range (high or low) … you are unfortunately on a
    path of rapid vocal destruction…plus mental, physical and emotional health degeneration …"

  58. "… Natural Singing feels and sounds like open-mouthed humming …"

  59. "… the correct balance properties of a technically complete vocal tone must explore the
    full OPEN-THROATED SENSATION … it feels deep-throated-reflected, high-headed -reflected, back-throated
    placed and forward mouth projected …"

  60. "… FOCUS is the eye-of-the-needle point (or converging resonances) of one’s tone floating
    and radiating in the centre of one’s skull … it never loses its point nor its buoyancy at any
    time while phonating from the moment of the attack of the tone plus the sustainment of the tone
    (between breathing in phrasing) and the (cut-off) ending of a tone …"

  61. "… Natural Singing and correct vocal balance can be compared and assimilated with (circus)
    high-wire walking or ballet dancing on the points of one’s toes … when mastered one feels no leaning,
    nudging, pushing or pulling in any direction … instead one experiences a floating and gliding
    sensation … making one feel liberated from effort … thus opening one’s mind and heart to the
    possibilities of truthful expression and artistic imagination …"

  62. "… be true to what you hear … not to what you think you are hearing …"

  63. "… always sing outward and empty your mouth of tone … never sing inward by holding or
    singing your tone in your mouth, pharynx or larynx … this puts too much pressure on the throat
    when it is not built for handling excesses of compressed air pressure …"

  64. "… when singing soft, loud, crescendo or diminuendo the body (NOT the throat muscles!)
    supports the release of the tone … the only changes occur in the release of vocal energy and resonance
    amplitude …"

  65. "… a competent singing teacher never subjects a vocalist to feel physically uncomfortable
    in order to make them sound the way they imagine them or want them to sound vocally … instead
    they spend more time and effort trying to lead the vocalist to sound like their original self (like
    one’s own speaking tone) and to sing the way their body and throat prefer to feel physically comfortable
    (NB: not relaxed!) …"

  66. "… when singing DO NOT LOWER THE LARYNX at any time!!! … do you do this instinctively
    when talking?…"

  67. "… Artificial Lowering of the LARYNX is achieved through a conscious effort of lowering
    the middle and back section of the tongue muscle thus pressing unnaturally onto the voice box (larynx)
    triggering an "unnatural" backward tilting action of the epiglottis towards the pharynx
    causing a narrowing of the openness of the throat organ and attracting excessive deep-throated air
    pressure … allow therefore instead the larynx to remain unimpeded by the tongue muscle and to
    feel free to rise and fall (of its own accord!) … it prefers to synchronise its movements harmoniously
    in a most natural way of behaviour in accordance with the rise and fall of the tongue muscle and
    soft-palate during pronunciation and pitch level changing …"

  68. "… Beware! Deep OPEN-THROATED singing is NOT "Lowered Laryngeal" singing!!!

  69. "… in natural singing every throat organ coordinates and contributes to say the word …
    therefore, one cannot have a moving and active jaw but a lazy pair of lips, tongue, palate and larynx
    … nor can one have an active pair of lips, tongue, palate and larynx … with a lazy, stiff and
    locked, immobile jaw …"

  70. "… never try to fix the vocal tone or vocal sound (by manipulating, contorting and distorting
    vocal physiology, pronunciation and diction) … instead fix the vocal machinery and the vocal mechanism
    … for the beautiful tone will appear most certainly as an unexpected guest …"

  71. "… the Natural Open-Throated singing technique can only guarantee the singer total vocal
    freedom and technical ease of vocal production … it can allow the voice to acquire all of its
    properties necessary to sound full, complete and musically accurate … it can help to beautify
    the voice in a major way but it cannot, however, add warmth of character to a vocal tone which in
    reality is a reflection of who we are … the essence that originates from the personification and
    core of one’s soul … one’s being! …"

  72. "… a great singer/musician always thinks ahead of where they are singing … therefore
    practice the art of foreseeing and predicting what is ahead … but always remember to be listening
    to what’s present in the moment …"

  73. "… while in the act of singing, a fraction of a second of lapsed concentration is enough
    to cause a technical imbalance in the voice and a musical mishap …"

  74. "… in order to be musically and technically apt in singing one must be very visual and
    gifted in prophesying what’s ahead … as do psychics, mystics and visionaries before events and
    happenings occur …"

  75. "… always sing with a critique’s third-eye consciousness outside of oneself …"

  76. "… when singing always keep a cool head (remain calm and aware of the happenings in the
    present moment!) and a warm heart … do not be tempted and allow yourself to be hot-headed (become
    overly nervous and lose total awareness of the happenings in the present moment!) …"

  77. "… until every ligament, muscle fibre and skin tissue within the throat and body elasticise
    equally on both sides … and muscle tension and support on both sides are equally distributed and
    coordinted into one entire instrumental effort … the body, mind, ear and voice will not be able
    to refine, balance and coordinate perfect pitching, tuning and regular vibration …"

  78. "… when studying singing and doing technical vocal practice do not lean on the throat
    or body in any direction … most voices are crooked because the body is generally more weaker on
    one side compared to its counterpart … therefore the prime aim in singing practice is to exercise
    and strengthen the weaker side …"

  79. "… stylistic singing requires that a singer has the appropriate feel, groove, beat and
    musical understanding of what they are singing …"

  80. "… the WORD is the necklace … the consonants and vowels are the beads or components
    strung to the necklace … therefore do not let them fall away from the string by letting the word
    fall away (backwards into the mouth) … instead aim to project the word forward into the auditorium
    to which you are singing …"

  81. "… NATURAL VOCAL PRODUCTION is most effectively achieved through the study of physical
    sensations and sense of touch … NOT through the (popularly) applied teaching approach of metaphoric
    imagination …"

  82. "… Singing Technique is not just breathing!!! … It is Breath + Placement + Diction …"

  83. "… correct Natural Vocal Production feels like one is emptying their body of vocal tone
    (NOT filling it up with vocal tone!) … in other words one must never swallow one’s tone by singing
    backwards from the mouth cavity towards the pharynx then downwards through the larynx and into the
    chest cavity … one should instead be trying to reflect the deep resonances by singing outwards heading
    upwards from the chest cavity towards the larynx then penetrating via the reflections off the back
    of the pharynx through the mouth cavity and out of the mouth orifice into the opposite-end surrounding acoustic
    environment …"

  84. "… let the word move the throat organs … do not let the throat organs move the word

  85. "… to feel natural and vocally FREE and OPEN the singer must feel hollow from head to
    waist while singing … there is no twisted or contracted muscle rigidity in the throat muscles
    or in any part of the body whatsoever especially in the top abdominal area (causing the diaphragmatic
    muscle to lose its mobility and tonicity and suffer a hightened state of rigidity) … the consequences
    are also reflected tragically on the throat organs as they stiffen intensely causing major loss
    of tonicity and mobility of movement …"

  86. "… natural COMPRESSED BREATHING correctly induces DEEP-THROATED "CONNECTED" singing
    … it alleviates the throat and voice of undesired pressure and strain … UNCOMPRESSED BREATHING
    induces the opposite …"

  87. "… never take large gulps of air when breathing … this induces relaxation of the breathing
    organs and the loss of the focus of the tone …"

  88. "… a great breathing technique is a hidden technique … it is invisible to the naked
    eye and inaudible to the listener’s ear …"

  89. "… a correct natural breath is tiny just like a thimbles-full size …"

  90. "… the smaller the size of the breath … the better the focus of the glottis … the
    more compressed the air in the lungs … the larger the resonance, volume power and size and magnitude
    of the voice …"

  91. "… remember to take repeated breaths constantly while practicing small and minimised COMPRESSED
    breathing … for if not, the lungs will begin to experience an uncomfortable sensation of collapse
    (feeling of suffocation in chest cavity) … thus igniting a strong feeling of anxiety…which is
    against the natural laws of human anatomy and physiology …"

  92. "… when running short of breath, vocal energy starts to drop … when vocal energy drops,
    vocal placement drops and projection suffers … when vocal placement drops and projection suffers,
    tonality and pitch drop … when tonality and pitch drop, the word contorts and bends and no longer
    projects forward … so therefore do not run short of breath …"

  93. "… the human will and mind work as one … they are the conductor of our entire vocal
    mechanism and instrument … their mental processes (while singing) are what speed up or slow down
    vocal activity … therefore one must always think ahead of what one is about to do musically in
    order to not be inadequate musically …"


  95. "… when vocalising or singing, the singer MUST NOT LISTEN TO nor be the judge of their
    own voice which they hear in their head, for what is often pleasing to the ear of the singer is
    commonly not as pleasing to the ear of the audience … and what is pleasing to the audience is
    commonly not as pleasing to the singer …"

  96. "… learn to play with CLOSED and OPEN TONE by narrowing the distance of the jaws … NOT
    by impeding by altering the shape and position of one’s tongue, lips, mouth, palate, pharynx and
    larynx in an unnatural way …"

  97. "… when practicing COVERED TONE singing DO NOT LOWER THE LARYNX!!! … instead play with
    the bright and dark shaded pronunciations of the vowel sounds …"

  98. "… one cannot sing well if one has not mastered the artistic balance of CONNECTED full-bodied-toned

  99. "… PRONUNCIATION is the unified vocal mechanism of ARTICULATION (placing, shaping and
    positioning movements of throat organs to prepare and vocalise combinations of consonants and vowel
    sounds) and ENUNCIATION is the vibrated utterances (vocal noises) emanating from the voice-box (phonating
    resonances) during the organic, physical actions and movements of vowel and consonant formations

  100. "… DICTION is the transparent result of intelligibilty of the WORD through the marriage
    of "natural" ARTICULATION and ENUNCIATION … it is achieved through the juxtapositioning
    of vowels and consonants to form syllables to be combined to form words and phrases that express
    specified meanings of human thought …"

  101. "… remember to always carry the tone over the back of the soft palate to avoid forced
    masked singing and nasality …"

  102. "… learning to sing correctly and naturally is learning to abandon old,
    "unnatural" habits … it is also learning what not to do …"

  103. "… correct pitch helps to place the voice correctly … placement of pitch is therefore
    situated at the meeting point where organs meet and articulate vowels and consonants …"

  104. "… let the word create the natural mouth formation and position the throat organs …"

  105. "… a weak effort to pronounce the consonant will cause a drop of the placement of the
    vowel (at the point of attack) and therefore jeopardise pitch and diction …"

  106. "… consonants must always be pronounced smoothly and must carress (not bump!) the vowels
    that follow …"

  107. "… when singing naturally in an acoustic environment (without a microphone) if one feels
    as if they are not yelling out (EDUCATEDLY!!!) every musical note (loud and soft volume)… then
    one is relaxing too much …"

  108. "… when pronouncing darker vowels such as: latin U (as in ‘book’), latin ‘closed’ O (as
    in ‘more’ or ‘for’) , ‘open’ O (as in ‘hot’ or ‘not’), E (as in ‘her’ or ‘shirt’), or U (as in ‘food’
    or ‘smooth’) always pronounce with tonicly tensed (elasticised) pouted lips … never with stiffly
    tensed, puckered lips … this helps to coordinate and focus the throat organs on an OPEN-THROAT
    without falling into a state of rigidity …"

  109. "… a NATURAL VOICE on an OPEN-THROAT position (while in its early stages of vocal training)
    will expose all of its innate flaws: cracks, croaks , unsteady passaggios, register breaks, yodels,
    flips, shifts, slips, slides, scoops, ticks, muscular throat tickles, muscular throat spasms, and
    more, because it is loose and free to do so (and is therefore able to be trained, exercised and
    corrected) … whereas an UNNATURAL VOICE … is always rigid and locked in the throat while falsely
    appearing to be steady and in control … when in reality it is boiling with major problematic upheavels
    just like a quiet and dormant volcano, deceivingly brewing and simmering in its bowels, building
    slowly – over a long period – its explosive forces to erupt unexpectedly (causing major caos and
    destruction) …"

  110. "… never sing only with one’s chest tone … never sing only with one’s middle tone …
    never sing only with one’s ‘falsetto’ or ‘head voice’ tone … a voice that only uses one of these
    properties but excludes the other two is an incomplete, incorrect and unnatural tone …"

  111. "… a natural tone has the right balance of CHIAROSCURO (bright and dark) shaded tone
    in the same sound … this can only be achieved successfully through a crafted blend of TIGHTLY
    FOCUSED chest voice, middle voice and head voice …"

  112. ‘… to sing only with chest tone ‘unnaturally’ increases SUB-GLOTTAL PRESSURE thus enforcing
    and attracting disastrous consequences … it induces damaging vocal hygiene … and the preservation
    and prosperity of the speaking and singing vocal mechanisms are highly compromised …"

  113. "… the CORRECT fully FOCUSED action of the MIXING of the three resonances (NOT REGISTERS!!!)
    – CHEST (dark and reedy) , MIDDLE (soft, silky and velvety) , HEAD (bright and ringing) – is completed
    when the voice feels and sounds like one unified register (from Low to High vocal range) and has
    a smooth fluidity of vocal timbre and tone colour modulation…"

  114. "… the characteristic of a natural tone is manifested when it has 1.CHIAROSCURO (Bright
    and dark shade) 2. CONNECTED FULL TONE 3. CONNECTED HALF TONE (Mezza Voce) 4. BABY CRY "SQUILLO" (Italian
    translation: "Squeal") pervasive throughout the voice’s entire vocal range … (NB: All
    the vocal timbres, colours and resonances of the CHEST, MIDDLE and HEAD REGISTERS must merge and
    mould together to form a UNIFIED TONE & REGISTER. This is only possible when the behaviour of
    the GLOTTAL ACTION has been trained to focus tightly without any instance of loosening action whatsoever
    throughout the entire range’s vocal mechanism) …" 5. FLESHY TONE & ROUNDED TONE (to soften
    and beautify the voice’s aesthetic appeal and magnify the tone’s dispersion within an acoustic environment)
    … it is the external pulp of a tone, the velvety coating to the natural tone’s central CORE (the "SQUILLO" –
    carrying, piercing and projecting nature of laser-tight, shining, mettalic, ringing ‘OSSEOUS’ tone)

  115. "… HIGH VOICES tend to be less sensitive to the sensations of osseous vibration in the
    body because their tone reflects primarily more of the HEAD TONE RESONANCES (noises of vibrations
    in the skull) than CHEST TONE RESONANCES (noises of vibrations in the chest) … it is the chest
    cavity which creates large vibration movement in the bones of the body … the head cavity does
    the opposite … osseous vibration is more commonly felt in the low register of a voice because
    low tones are primarily reflected in the chest cavity…"

  116. "… PRIMARY SENSATIONS are sensations which are common to all natural vocalists … SECONDARY
    SENSATIONS are transitional sensations which appear and disappear and maybe reappear to redisappear
    over and over at different stages of one’s technical studies … the student must not hold onto
    these secondary sensations but must instead allow them to come and go as they please …"

  117. "… since most HIGH VOICES find it difficult to feel their voices through the sensation
    of physical touch (vibration in the body) especially in high range … they must instead make more
    effort to HEAR the echo noises of their vibrations internally in every zone of their body (especially
    deep in their chest cavity) …"

  118. "… vocal tone must always be compressed and sealed at all times within the body … from
    the beginning of the attack of the vocal emission to the cut-off point of the vocal emission during
    open and closed mouthed singing … (NB: no air escape in the tone via the glottis, nostrils or
    mouth) …"

  119. "… if energy rises in the body vocal placement drops and tone and pitch suffer … if
    energy descends the opposite occurs …"

  120. "… natural singing is more effectively taught via concrete physical approaches as opposed
    to metaphoric imagination and meditational methods …"

  121. "… natural singing in some instances takes longer to develop and evolve as opposed to
    artificial, muscular, throaty singing … this is because OSSEOUS RESONANCE requires more time to
    grow and expand throughout the body as focused resonance is being established … whereas on the
    other hand, throaty tone, at an instant, will produce much volume and power in close up confrontation
    but over time will shrink, shrivel and turn into a wavered, out-of-tune, unimpressive and unbearably
    ugly, wobbly vocal tone …"

  122. "… if opting to sing with a throaty voice (which for some singers doesn’t necessarily
    feel bothersome or uncomfortable) initially all seems steady and in control (especially if the voice
    is young and tender in its age category) but with more vocal abuse to the vocal instrument the voice
    eventually begins to collapse into unsteady, wobbly tone (Aged Voice!)… a prematurely aged voice
    manifesting these vocal signs also develops reactions of uncontrollable facial ticks and spasms
    of the vocal tract organs … a healthier natural approach to singing, on the other hand, promotes
    vocal hygiene and longevity of youthful singing … it just grows … and grows … and grows …"

  123. "… the better the quality of the vocal instrument the better the technique must be for
    the voice to respond and expose its hidden treasures … whereas a poor quality voice (although
    may improve phenomenally with correct training) is more resilient and capable of bearing incorrect,
    bad vocal techniques and singing for long periods without collapsing or feeling damaged and compromised

  124. "…. voice classification is established through careful observations and deductions of
    a vocalist’s innate vocal behaviour … these directly relate to VOCAL RANGE (length of vocal pitches
    easily and comfortably attainable!), TESSITURE (the general, comfortable vocal range (zone) of singing
    throughout a vocal work), VOCAL FLEXIBILTY (speed and agility), VOCAL TEMPERAMENT (light, lyric
    or dramatic) …"

  125. "… when attacking (or commencing) a tone or the beginning of a vocal phrase , the emission
    of the first tone on the first syllable of the phrase must be executed without any bumps or waverings
    (ie: the consonant must be pronounced gently and smoothly and progress smoothly onto the vowel that
    follows and vice-versa and so forth!) … the tone is then sustained and spun with regular vibration
    throughout the vocalised syllabifications of the entire phrase as smoothly as possible and the cut-
    off at the end of the phrase is completed without any bumps or waverings of the tone …"

  126. "… never deliberately and artificially cover the tone through the PASSAGIOS & REGISTER
    BREAKS with muscular manipulation of the throat organs … instead allow for the vibrations to reflect
    deep in the larynx and chest on an open throat in the search for darker overtones and resonances
    … CHIAROSCURO will be balanced and established … and this will help the voice to feel lighter
    on the throat and will lower the high range and make it easily attainable …"

  127. "… sealed tone finally feels like one is drinking one’s vibrated tone and soaking it
    into the major resonance cavities of the body: SKULL, MASK, MOUTH, PHARYNX , LARYNX and CHEST …"

  128. "… the WORD always takes control and guides the tone … not vice-versa …"

  129. "… learning to sing correctly and naturally enforces the necessity to abandon old and
    new wrong approaches and vocal habits … one must therefore learn what not to do to discover what
    to do …"

  130. "… do not enlarge, oversize or bloat natural breathing (as in speaking) in any direction
    whatsoever (ie: exit of carbon dioxide from lungs or entry of oxygen to lungs) … keep it returning
    always at the replenished size (100% no more and no less) …"

  131. "… when the tone is sealed in the body and tightly focused throughout the entire range
    of the voice without loose air escape it feels as if one is drinking it …"

  132. "… it is dangerous to head off into a singing career when a singer has not completed and
    mastered the natural vocal technique and lacks musical refinement of all other skills required …"

  133. "… placement of pitch meets at the same point of articulation of the word …"

  134. "… one cannot teach how to breath for one has always known how to do it instinctively
    since birth … however, one can disturb correct breathing by applying wrong breathing methods that
    displace and manipulate muscles artificially … one must make a conscious effort to not deviate
    from the natural mechanism of breathing … the diaphragm cannot be taught how to move for it rises
    and falls (of its own accord since the time of birth!) with the aid of abdominal and back muscle
    movements to move oxygen and carbon dioxide in and out of the lungs so that the body breaths comfortably
    … tensing and stiffening wrong muscles in the body and throat will only impede this natural mechanism
    from working efficiently and causing unnecessary discomfort …"

  135. "… one must NOT woof-up, bloat, puff-up, expand, engross or enlarge one’s tone muscularly or
    pharyngeally (as if yawning or almost yawning!) more than its natural size and shape … does one do this to talk? … this will compromise
    natural, osseous, focused tone …"

  136. "… when air escapes through the tone the body loses compressed breath energy …"

  137. "… when singing do not tilt the head backward or forward … instead keep the head straight
    and project the tone ahead horizontally to avoid intrinsic laryngeal and tracheal throat narrowing

  138. "… when studying and developing the "Natural Voice Technique" always sing through
    (NOT around, over, or under!) the laryngeal tickles, throat spasms, vocal cracks and croaks … by doing
    so this will trigger a whole new network of intrinsic muscular throat actions that will aid in releasing
    and relieving other overly tensed extrinsic mio-activity … beyond these momentary passing obstructions are the
    riches of vocal freedom and vocal beauty…"

  139. "… the shorter the depth of one’s tone the shorter the height of ones tone … the larger
    the depth of one’s tone the larger the height of ones tone …"

  140. "… for immaculate pitching and tuning, practice the vision of listening and emulating
    … not the vision of seeing and emulating … close the eyes to perfect this even more for quicker
    results …"

  141. "… when singing high notes the head must not pull away from the cervical vertebrae in
    the neck (ie: move forward) thus disconnecting one’s chest tone from the voice … nor must the
    jaw stiffen, lock or protrude exageratedly forward … nor must the root of the tongue muscle, chin, jaw and
    neck muscles contract rigidly … to stop this from occurring focus the point of the vibrated voice
    on the back of the pharygeal wall and carry the tone over the back of the soft palate (when ascending into high range!) making certain
    at all times to not distort the shape of vowel sounds and consonant sounds in diction …"

  142. "… it is a known fact that while singing, friendly TONIC (Elastic!) TENSION (as opposed
    to RIGID (Rock hard! Stiff!) TENSION) helps to distribute and disperse proper vocal energy to the vocal support mechanism
    (throughout the body) and eliminate unwanted and discomforting vocal pressure away from the throat
    organs …"

  143. "… a correctly developed voice with a completed and focused tone (READY for CAREER!) must
    possess: 1. a holistically focused "Natural Tone" 2. FULL Open-Throated, Open-Toned RANGE
    with CHIAROSCURO (bright & dark shaded timbre) evenly distributed throughout the entire vocal
    range 3. CONFIDENT EASE of "Vocal Emission" throughout the entire range 4. complete control
    and capacity of Full (Connected) Tone and "Mezza Voce" (Half voice) 5. ability to sing
    loud and soft and execute vocal swellings and deswellings evenly and with flexible ease 6. Vocal
    AGILITY (in ALL VOICE sizes and categories) 7. an excellent musical ear for tuning and timing 8.
    refined stylistic knowledge of music and excellent spiritual sensitivity and musical feel …"

  144. "… the VOICE … (when completed its technical vocal studies) … should sound and feel
    like a rodded tone with a cutting-edge blade (like a sword or lazer beam) capable of penetrating
    and slicing through any conducting surface … capable of guillotining the air, space and orchestra
    and travelling vast distances just like the chirping of forest birds penetrating and projecting
    throughout vast country valleys …"

  145. "… when starting the tone, bite the breath and bite the voice … when finishing the tone
    bite the end into silence and lock the air in the lungs (without escape) while replenishing the
    lungs with new oxygen …"

  146. "… "Natural Voice Production" relates to the physiology of the sound of the
    natural tone and voice … "Natural Vocal Production" relates to the anatomical mechanism
    (body mechanics!) of the vocal phenomenon …"

  147. "… BREATH ENERGY descends and voice rises and falls in pitch …"

  148. "… always develop the length and range of the voice … then the width will evolve immediately
    afterwards …

  149. "… never pull on the tone backwards but release it and always let it flow forwards …
    VOCAL ENERGY always moves forwards and never retreats while pitch and volume fluctuate upwards and
    downwards …"

  150. "… A GREAT TECHNIQUE is an invisible and hidden technique!!! …"

  151. "… VOCAL ENERGY is the strength of focus of tone and the intensity of the flow of the
    Natural Vocal Tone throughout the body … BREATH ENERGY is the strength of compression of air in
    the lungs and chest cavity plus the compression of focus of tone in the body and the intensity of
    compression of diaphragm and supporting muscle mechanism …"

  152. "… we study assiduously and indefatigably the Art of "Natural Voice Production" and "Natural
    Vocal Production" (till the work is completed and perfected!) to be able to feel physically
    free to express truthful and believable, heartfelt expression of the SOUL …"

  153. "… correct, natural mouth formations and articulated positions of vowels and consonants
    are vital for avoiding and loosening JAW TENSION …"

  154. "… real "Natural Focused Tone" (from convergence of bone resonance! NOT muscular
    tone!) cannot be induced artificially (consciously) … but with obedience to natural physiological
    laws of vocal phonation it arrives and finds you as an unexpected, important guest … this can
    only eventuate when the body and voice physiology centralise and balance both intrinsically and
    extrinsically and UNANIMOUSLY! …"

  155. "… most female high voices find it physically easy to sing in high range mainly due to
    the fact that their voices are head-placed naturally … the plight of the high-ranged voice is
    learning to connect to the chest voice resonances … male voices are naturally placed in chest
    tone and are plighted (in most cases) with the task of connecting to head voice resonances …"

  156. "… when the voice is placed deep in the chest cavity resonances pitch is refined, perfected
    and grounded … as long as it remains grounded the pitch will not falter in its tuning …"

  157. "… CORRECT "Natural Vocal Technique" (instinctive, unprepared and non-premeditated)
    ENERGISES the body and voice … INCORRECT "Artificial Vocal Technique" (prepared, premeditated,
    timbred and shaped differently to speaking tone) degenerates and ages the body and voice quickly

  158. "… NEGATIVE mental and emotional thinking depletes the body and voice’s energies … POSITIVE
    mental and emotional thinking does the opposite …"

  159. "… just like two lovers making a strong effort in getting to know each others’ likes and
    dislikes to make their relationship work out comfortably …. so too do the voice and vocalist need
    time to get to know each others’ likes and dislikes … it is clearly a mutual love affair that
    needs time to establish harmony and compatibility between reciprocal parties … when the relationship
    is ripe it may then be presentable to public as a tool for edifying and educating and as an instrument
    of expression for adding meaning and purpose to life itself …"

  160. "… VOCAL ENERGY originates from compression of air … not from size of air …"

  161. "… the more tighter the tension of the vocal cords and the more narrowed the opening and closure action of the glottis during vocal phonation (throughout the entire vocal range! ) the more sealed compressed BREATH ENERGY will be (no lung collapsing in breathing!) … the more one’s vocal phrasing lengthens … the more effortless singing becomes …"

  162. "… to achieve a longer capacity of breathing and vocal melodic sustainment one needs to avoid oversized and undersized breathing … never increase or decrease the exact proportionate amount of air exiting and re-entering the lungs during vocal phonation … maintain the same thimbles-full amount of air flow (as in talking) to keep the tone tightly focused … remember to breath often throughout a melodic phrase to avoid lung collapse … breath in the middle of a word if necessary to avoid lung collapse … if practiced for months and years the breath capacity will increase enormously! …"

  163. "… to achieve longer vocal phrasing with minimum intake of oxygen in the lungs one must learn to focus the glottis more tighter and increase Breath Energy and (pressured) Deep-Throated vocal energy …"

  164. "… the more tighter focused the ‘Breath Energy’ and ‘Vocal Energy’ the more lighter the weight of the voice throughout the entire vocal range …"

  165. "… smaller the size of one’s breath or the less one breathes the more energy one saves in the body …"

  166. "… correct SEALED TONE feels like drinking one’s tone into the head cavities and chest cavity … and not like blowing or aspirating air escape through one’s vocal tone … remember to always lock and seal vibration … do not allow air bubbles to escape through vibrated tone and break the even fluidity of compressed vibration"

  167. "… an excellent vocal guide always aims to help a vocalist develop osseous vibrations and resonances and evolve their own unique and original spoken-sung-like tone … and doesn’t insist on fabricated tone production that sounds foreign to the vocalist’s natural speech-like timbre …"

  168. "… when teaching natural singing the teacher should not listen to nor observe the aesthetic sound appeal of the voice … the teacher should instead pay more attention to the physical behaviour of the voice by correcting the mechanical vocal behaviour of the voice … the beautiful and powerful tone are guaranteed to appear …"

  169. "… VOCAL ENERGY is weakened or strengthened in accordance to the intensity of the focusing action of the glottis and the intensity and power of compressed BREATH ENERGY … when the two energies are focused coordinatedly and harmoniously in both body and throat, intense ring of tone is achievable thoughout the entire vocal range thus giving it great carrying power and ability for theatre without the aid of electronic devices …"

  170. "… VOCAL ENERGY is the intensity phenomenon of the ringing tone and the fluctuations of its varying degrees of intensity …"

  171. "… intense vocal energy … not flax or forced vocal energy …"

  172. "… to classify a voice the teacher needs to feel the temperament of the voice by observing its desires and behaviours (ie: whether it prefers and wishes to rise higher or to deepen lower) … this may not suffice enough, however, for the final deciding factor for categorising a voice is not through determining whether or not one possesses high or low tones (for many unusual voices can cross over into other vocal territories and handle similar vocal extensions quite satisfactorily) but instead through determining the central vocal tessiture (general range of vocal comfort and vocal strength and power) of a voice …"

  173. "… OPEN-THROATED HUMMING helps to merge and mould passaggios (bridges) and breaks and does away with them permanently (if executed correctly!) … it helps to converge all the vibrations and resonances throughout the body into a single-bladed and pointed, focused tone … it blends the Chest, Middle and Head registers into one HOMOGENEOUS tone and does away with register breaks and separations and isolated singing …"

  174. "… on an OPEN THROAT when large melodic leaps and small melodic step intervals feel the same technical distance apart during vocal phonation … you can sing! …"

  175. "… on an OPEN THROAT when your voice feels as though it is beneath you and not above you … you can sing! …"

  176. "… on an OPEN THROAT when one’s high notes feel as if they are beneath one’s head and not above it … one can sing! …"

  177. "… correct forward projection of both tone and word feels like the voice is resonating and echoing out of one’s mouth from the opposite end from where one is standing …"

  178. "…when the tone focuses in a correct supraglottal position healthy FLOATING TONE is achievable … when the tone focuses in an incorrect subglottal placement, unhealthy grinded tone results … this excess subglottal air pressure is the cause and ruin of many excellent voices and leads the vocal instrument to premature ageing (uncontrollable wobbles and waverings of one’s tone plus depletion of clarity and purity of vibration and resonance) …"

  179. "… Vocal Energy and Breath Energy work together as one … if one of the two incorrectly relaxes or is excessively forced in its application the counterpart always suffers and is consequently weakened …"

  180. "… Vocal Energy must originate from deep within the body and derive its strength from intense, deep pelvic, diaphragmatic sustainment + tonic (Elastic!!! NOT Rigid!!!) anterior abdominal and posterior lower-back lumbar mio-support + compressed breathing + fully focused glottal action … when all coordinate into one harmonious effort, regular and intense vocal energy is sustainable …"

  181. "… when compressed breathing is at a point of locking itself air-tight-sealed in the lungs the physical sensation throughout the body is initially one of suffocation … but with repetitious thimbles-full-sized breaths throughout a phrase (even within a word) the suffocated feeling gradually subsides and disappears over time and breath intake ironically decreases in size while the capacity to hold and sustain a long phrase increases to vast lengths and proportions …"

  182. "… intense compressed Breath Energy and intense Vocal Energy are required for intense focus action of the glottis (for soft and loud singing) …"

  183. "… compressed breathing connects and unifies the registers into one homogeneous tone … it also does away with register breaks, register isolations, voice cracking, disconnected tone … and it helps to blend and merge all of the body’s resonances into a unified, resonant tone …"

  184. "… in Natural Singing one must try to keep the breath and voice the same size, measure and focused shape as in speech … one must also try not to deviate by artificially oversizing, overbloating and exaggerating the production of one’s tone …"

  185. "… we perfect the art of merging the registers to rid ourselves of tessiture limitations and vocal strain and forcing …"

  186. "… in Natural Singing one must minimise to maximise …"

  187. "… searching for the natural voice is like searching for a precious hidden treasure …"

  188. "… vocal pitching is achieved independently and separate from the body’s posture (ie: DO NOT change or alter the body’s posture for the sake of pitching!) …"

  189. "… NOT oversized breathing … NOT undersized breathing … but YES to CENTRALISED BREATHING (as in speaking) … …"

  190. "… Natural Singing requires intense energy, intense baby-cry-squeal (focused tone!), intense vibration and resonance, open-throated vocal mechanism, and a naturally coordinated breathing mechanism … it all collapses and weakens if one relaxes the body and voice into a state of flaxity …"

  191. "… when long vocal interval leaps feel the same physical distance apart as a short vocal step interval one has found the centre of their vocal balance …"

  192. "… a Natural Singing vocal technique connects the voice to the Mind Body and Spirit and homogenises and merges the registers and resonances … an unnatural and artificial technique disconnects the voice and does the total opposite …"

  193. "… an immaculately completed Natural Open-Throated vocal technique signifies a thorough understanding (both theoretical and practical) and complete knowledge of the Natural Voice vocal mechanism … one should not attempt a serious soloist singing career if one has not completed and refined (in full) the journey of natural vocal discovery … it would be foolish otherwise to do so for popular and classical musical works and compositions have never altered their tessitures and musical demands since the time of their inventions in written musical manuscript format and recorded format … therefore with a deficient vocal technique one places their vocal balance and health in a state of immediate negative compromise …"

  194. "… VOCAL ENERGY requires strong abdominal and lumbar support action + COMPRESSED BREATH + FOCUSED OPEN THROAT mechanism + VIBRATION and RESONANCE … it is responsible for the correct application and distribution of tonic (elastic tension!) action of the throat and body organs and is the spark that feeds the impulses of the focusing glottal motions …"

  195. "… small voices with small physically proportioned vocal instruments tend to possess lesser sized resonances, colours and timbres in comparison to large voices … they are therefore more easy and rapid to teach … large voices with large vocal instruments are more difficult to teach because the vocal properties they possess are multiple in size, resonance and weight and therefore require more time and patience to teach and balance them …"

  196. "… all voices must focus and thread themselves through the narrowest eye-of-a-needle pinhole to crack open TRUE FOCUSED OSSEOUS TONE RESONANCE … smaller voices therefore have an easier task narrowing into the focus point because of their lighter, narrow-weighted tone … larger voices are generally more challenged … finding it more time-consuming because of long periods of unrushed rigorous vocal training … this is because large voices require more training to learn to narrow in bigger and broader vocal artillery through the same pin-hole focus point…"

  197. "… there are so … many … many … many … more elements, subjects, ingredients and topics to discuss about VOCAL SINGING TECHNIQUE than just BREATHING … any so-called vocal expert who continually talks ONLY about breathing and nothing more in relation to the topic of vocal technique knows very little if anything at all about the entire subject or topic …"

  198. "… VOCAL ENERGY aids in the set-up of tonic tension in the throat organs of the vocal tract to produce and sustain correct and exact pitching … if vocal energy is lessened or weakened pitching suffers as a consequence …"

  199. "… NATURAL SINGING energises … it does not drain one’s energy … it cleans up, heals and restores youthfulness and clarity to a damaged and aged voice … after long periods of natural singing the speaking voice still vibrates cristal clear and feels lighter to talk on than before …"

  200. "… the term "NATURAL" must not be underestimated, overlooked, nor snubbed with indifference … for its significance in singing is HUGE and POWERFUL … there is no other more potent and challenging way to sing than NATURAL SINGING …"

  201. "… in natural singing one must learn to let go of and abandon bad vocal habits (totally) to permit and allow salutary and healthy vocal habits to instill themselves and take precedence …"

  202. "… it is extremely important how one prepares the start of a melodic vocal phrase … the instinctive preparation establishes the success of one’s freedom of tone emission … never start the tone in the larynx at any time … take special care to avoid starting in a stopped (closed) glottal position to avoid a violent glottal attack (violent hitting of the glottis) … always start the tone at the back of the throat on the pharyngeal wall (directly behind the tongue in low tones) … and always carry the tone (on the pharyngeal wall) over the back of the soft palate in middle and high tones to penetrate the head resonances … but make certain (at the same instance) never to disconnect with deep-open-throated laryngeal and chest-toned resonance …"

  203. "… a great (vocal) technique is a hidden (vocal) technique … therefore it must remain both aurally (quiet and silent) and visually hidden (physically effortless!) …"

  204. "… in natural singing one must be prepared to lose one’s old self to find one’s new self …"

  205. "… an exceptionally gifted teacher of singing always listens to a voice by feeling the natural sound and visualising the bio-mechanics of the throat organs and body organs … the teacher also makes haste to correct the unnatural, compromising fault features of the physical aspect of one’s tone production … the teacher must also try to avoid the practice of altering and modifying the natural timbre characteristics of a voice …"

  206. "… a great singing teacher always approaches their art of teaching Natural Singing from a physical analysis of natural physiology of body and voice … and avoids teaching solely based on an approach of vocal audio manipulation and modification only …"

  207. "… to tune the voice the singer must tune the SQUEAL (SQUILLO or Baby Cry) of their tone both in ear and head … when the squeal drops out of pitch (even if the broader sounding part of the tone sounds pitched in the mouth and head) the singer is more likely than not out-of-tune or off-pitch … (ie: either sharp or flat) …"

  208. "… strong physical energy … not hard physical effort …"

  209. "… PRIMARY SENSATIONS are common to all singers. They remain as permanent sensations and are guiding beacons for the natural singer … SECONDARY SENSATIONS are personal and variable to each individual … they are ever changing and alter constantly by appearing and disappearing and reappearing and redisappearing … learn to distinguish the difference between the two …"

  210. "…. opening wide by smiling into wide horizontal position (creates brighter shaded ringing tone by lifting the vibrated sound more into the skull and mask and narrowing off chest resonances) or opening vertically by extending the jaw low (creating darker shaded reedy tone by lifting the vibrated sound from the chest cavity into the mouth orifice) are both correct mouth formations if the tongue does not dip downwards at the back end of the mouth orifice near the pharyngeal wall causing a disrupted lowering of the larynx which narrows and closes off the throat artificially …"

  211. "… when singing the vocal technician must create lots of space at the back of the throat (between back of Tongue, Pharyneal wall and Soft Palate) to open the throat sufficiently so that the tone remains fully connected with the entire body resonances … to achieve this space DO NOT yawn or semi-yawn! This creates artificial spreading of the vocal tone which in turn destroys focus and compressed breathing … the open space at the back of the throat must not be constricted or narrowed or the vocal tone will disconnect from the chest tone and thin out into head voice squeal (which is only 50% of the real picture of the voice) … the full connected tone has head voice squeal (Chiaro – Bright ringing tone) plus chest voice expanded breadth tone (Scuro – Dark reedy tone) in its complete natural make-up… instead extend the jaws lower (on the AH vowel) without dipping the back of the tongue down onto the larynx allowing for dark chested tone to come up from the chest cavity through the larynx over the back of the tongue and to pour into the mouth orifice and fill it completely … do take precaution for a narrowing back-throated space stops dark tone from pouring into the mouth orifice and the singer will suffer by settling with only singing with head resonant squeal which can lay extra strain on the singer’s laryngeal tendons and ligaments … the voice is also denied of its complete full picture of beauty when the tone is not completely connected …"

  212. "… short low-ranged songs with slow moving melodies and long sustained notes tend to make voices fill out with more tone and timbre and with some voices they may become heavier and less agile in nature … for voices requiring more development of speed and agility and easier tessiture sustainment, longer ranged songs with fast sequences of melodic runs generally may help to narrow the tone and extend higher and deeper in length and render it more lighter and agile in respect to vocal flexibility … therefore different operas require rebalancing, readjusting and rethinking of the vocal technique in order to accommodate for different stylistic vocal approaches for compositional vocal writing …"

  213. "… fast agile singing over a fairly long range generally narrows the tone of one’s voice and renders it much lighter and easier to sing … singing in more slower tempo with lyric-sustained melodies and in a fairly central range and tessiture may swell and expand the tone of one’s voice adding more weight to its natural size …"

  214. "… when one feels completely void of bloated pressure and empty of tone and sound throughout the entire body … and it appears to be filling the external auditorium with reverberated sound … one is singing correctly! …"

  215. "… a tone without the full breadth of the entire body’s resonances in it, is a cut-off, disconnected tone … and therefore an incomplete tone …"

  216. "… every NATURAL VOICE must possess a piercing and penetrating (dark and bright) osseous ringing tone … and must be bladed and edged like a shining excalibur to add life and energy to the natural sound of the voice … the NATURAL VOICE must ultimately resemble an iron fist coated and covered in a velvet glove with projecting power, beauty and aesthetic appeal …"

  217. "… one’s mental thought prepares and sets up vocal energy, vocal organs and body organs for singing accurately … it starts, sustains and finishes a vocal phrase with equalised focused tension … therefore if the mental state of preparedness is not actively ready or is either somewhat disrupted or interrupted … pause one moment … allow the mind and body to reset their activities … then recommence …"

  218. "… an OPEN-TROAT feels empty and hollow in the larynx, pharynx mouth, skull and chest during silence and vocal phonation …"

  219. "… REAL, TRUE and PURE BELCANTO can only be achieved on a full OPEN-THROATED Natural Vocal Technique … it is rediculous and ludicrous to think and believe that despite an eminent artist’s commendable efforts of achieving most or possibly all of the technical musical demands and characteristics of the Belcanto style of singing … that it therefore suffices enough to make up for an unnatural voice …"

  220. "… a Natural Voice is the real deal like pure 100% leather hide or a very tasty and rare vintage wine … an unnatural voice is fake and worthless like an imitative leather jacket made out of vinyl … it lacks life from its very core and vocal source … it is dull and unattractive to the ear and appeal of the listener … the unnatural singer must therefore work much harder on the musical, emotional and acting interpretative aspect of their performance to compensate for the great lack of an essential natural vocal technique …"

  221. "… a teacher must first be a vocal guide (during vocal technique stage) … and then evolve in becoming the singing teacher (when teaching the music and musical interpretation) …"

  222. "… strong physical energy … NOT strong physical effort …"

  223. "… on the VOCAL ATTACK bite the tone and bite the breath (from a CENTRALISED LUNG POSITION just as we do in talking) and seal the vibration of your tone into your bones to make them vibrate and resonate as intense as possible … take many small "quiet" sips of breath via a discreetly open mouth to sustain strong, vividly-tuned tone and to avoid lung collapse … during vocal emission the vibration must not be cut or interrupted with intermittent bubbles of air escape …"

  224. "… a correct approach to voice studies always parts from a physiological intention of working inside-out as opposed to outside-in … "Vocal Truth" can only be revealed via means of feel and touch and NOT via auditory means (listening to one’s own vocal tone) …"

  225. "… in Natural Vocal Technique studies learning to mould, merge and unify the registers and passaggios into one homogenised tone feels like sewing and weaving notes and patterns on a same string …"

  226. "… for DARKER vocal timbre the mouth opens (by dropping the jaw NOT pulling on the jaw!!!) more VERTICALLY and allows the dark chest resonances to pour from over the back of the tongue into the mouth cavity … for BRIGHTER vocal timbre the mouth opens more HORIZONTALLY … and … while fidgeting with different timbres, colours and shades of the natural tone beware of also NOT TO LOWER THE LARYNX by depressing the back of the tongue onto the larynx otherwise the throat becomes stiff and immobile plus narrowed, constricted and restricted by an unnatural and incorrect lowering action of the epiglottis and an unnatural and incorrect contracted and receded action of the tongue muscle towards the pharyngeal wall… "

  227. "… don’t force the tone deep-throated artificially by pressing on throat muscles … instead hear the tone by feeling its vibrations and resonances echoing and resounding a reflected deep-throated tone (dark resonant timbre in Natural Voice) …"

  228. "… when singing naturally one must taste PITCH deep in ones throat and chest cavity …"

  229. "… those who suffer the most will reap the most …"

  230. "… the longer one takes to find TRUTH the more one learns to respect TRUTH … the longer one takes to find their NATURAL VOICE and NATURAL TECHNIQUE the more one learns to respect them and fight to preserve them …"

About- Navigation