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Opera technique?

Posted by Sabe on September 28, 2008 at 15:00
I'm an opera singer since 25 years and I have always thought that to learn opera technique I had to go to words like “Open! Push!”, or “Think about a pearls thread” and so on...All phrases without sense, with bad teachers that ask to you a lot of money to explaine to you...what?Nothing.Last month I had attended to an explanation by Marco Tonini to Bodo Maass about the High Singing Formant. Sometimes I attend to lessons by Marco Tonini, and he is not a singer, and this time I was very surprised by Bodo fast results. He was abled to produce a spectacular barytone sound.A big surprise, in only few days.Thanks to Bodo capability to understand and thanks to Marco method, called Tertium Auris (The Third Ear), the results was very extraordinary. This method allows to obtain a lot of sounds looking sonograms and spectrograms in real time, so people can decide which formant can be develop.I would suggest to a lot of singing teachers, old retired pensioned singers or failed singers that ask to people a lot of money, Stay quiet! You can't damage students.Stop! You must understand what are formants, harmonics, vocal tract and resonance places. Exactly! That's enough now to speak allusively by metaphors!Yes, Marco is my singing teacher, I don't know if he is the best, I only know that with he in a few months I have learned more and more than my old teachers teached to me in many years.Next time I insert some video clips or audio files about Bodo “opera” voice.
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Interview mit Winne Clement - Fujara und Obertonflötenbauer aus Belgien.

Posted by Roderick Zeig on September 13, 2008 at 5:00

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Interview mit Winne Clement -
Fujara und Obertonflötenbauer aus Belgien. Wie kommt ein Belgier dazu die slowakische Hirtenflöte - Fujara zu bauen? Am 12.07.08 traf sich Roderick Zeig mit Winne Clement , am Festival Detva in der Slowakei und ging dieser Frage auf den Grund. Winne Clement erzählt über seine Arbeit als Fujarabauer, wie er dazu kam, welche Hürden er dabei überwunden hat.

Weiterlesen...

Von Roderick Zeig in Detva, Slowakei am 12.07.2008

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A sort of homecoming

Posted by Maaike on September 6, 2008 at 15:00
I usually write at my own blog at www.klang440.org, but since this is a very overtone-related post, I've copied it here as well.=============Ever since I stopped singing, I’ve kept a little door open somewhere in the back of my heart. Sure enough, I don’t see myself singing in chamber choirs, oratorio choirs or project choirs, and I definitely don’t want to sing solo parts in front of large audiences any longer, but deep down I’ve remained convinced that singing is an important key to…well, to me.And what do you know, my timpani (of all instruments) have shown me a way back to singing the way I want it. I was surfing the net doing some research into timpani overtones and the ‘missing fundamental’ effect when I came across this network for overtone singers. I was quite surprised by finding so many people interested in overtones, and even more surprised by the sound samples; sure, I’m familiar with Tibetan and Mongolian overtone chanting, but some of these samples were ‘normal’ western singers who glued overtones on top of their regular singing voice. And some of the members were talking about phonetics, science, my kind of interests.And here the Maaike principle got into action: whenever I find something really interesting and possibly life-changing, I always find a good teacher close to home. Cool principle huh? It happened to me when I discovered Alexander technique, when I started playing percussion, and sure enough, it happened with overtone singing again. I attended a workshop by Borg Diem Groeneveld yesterday, and after five minutes, I knew that this is what I’ve been looking for: a mix of body work, music, intonation, phonetics and mindfulness, with a good dose of sensibility and pragmatism.We did all kinds of bodywork awareness exercises, and when we first started to sing overtones, I couldn’t help thinking that I was back in phonetics 101, with all the gradual transitions from one vowel to another, and I loved it. A very special experience was singing along with a Tanpura, a kind of Indian lute. Rather than singing along, the art of tanpura singing lies in singing towards or even within the tanpura overtones. It’s hard to explain in words, but it’s very much about tuning in and becoming one with the instrument. Once that happens, it’s a very beautiful experience, it’s like your whole body starts to resonate along with the overtones.So yeah, happy times, and even more happy times ahead, because I’ve enrolled for a four-year course in overtone singing.
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