A resonant voice is the target for vocal production in terms of vocal health, primarily because it is neither taxing nor restricting to low intensity. As important, resonant voice has been described as low-impact (in terms of vocal collision) as well as large amplitude vocal-fold oscillation, which should provide both preventive and curative effects (Li et al., 2008).
Artistic Target: Pre-phonatory tuning
Pre-phonatory Tuning - L’impostazione della voce and the related L’imposto refer to the manner by which the singing timbre is initiated and perpetuated throughout a phrase. Imposto embodies immediate sympathetic resonance sensations resulting from the unity of tonal balance, centered intonation, and vibrancy. Prephonatory tuning is practiced by highly trained performers when breath and resonation are coordinated actions, pitch targeting and exactitude of spectral balance immediately occur. Fine singing depends on an awareness of l’impostazione della voce.
Open Throat (Gola Aperta) - the nasopharynx is capable of playing a major role in sensations of open-throatedness. One often experiences openness in the region of the oropharynx and in the region of the nasopharynx (as opposed to concentrated sensation in the laryngopharynx) in moments of heightened emotion in speech. The presence or lack of “resonance” in the singing voice is closely tied to adjustments made in the velopharyngeal region.
The Importance of Artistry - Singing robots are uninteresting. The only reason to develop vocal technique is to be able to communicate sound and emotion to the listener. Yes, beautiful sounds do draw attention but beautiful vocalism separated from artistic imagination is not sufficient for textual and dramatic communication.
Artistry is a technical route for the externalisation of internal emotion.
Artistry can be achieved by building up the repertoire of the singer. Every song has its own musical, textual and dramatic demands; by careful study of the circumstances based on historical, environmental and musical demands, the singer-actor with a “thinking body and thinking voice”, will choose a vocal production style that will meet the composer’s intent.
Start from repertoire that encourages efficient vocal function. Work on songs that emphasize the bel canto principles, where demands of range, sostenuto, agility, dynamic control, and vocal coloration are of utmost importance. Once the singer has gained some mastery over these, he/she can move on to the more text based, speech-like qualities.
The term “Bel Canto” is much misused, abused and misunderstood today. The Italian term, “Bel Canto” means “beautiful singing” and was first applied to composers such as Cavalli, Cesti and Monteverdi who considered the innate requirements of the musical form to outweigh the dominating aspect of the text. This led to graceful, smooth-flowing phrases supported by simple harmonies. The philosophy of this style continued and persisted through composers such as Bellini, Rossini and Donizetti until it was supplanted by “verismo”.
Strictly speaking, “Bel Canto” is not a technique but a philosophy. Keng-Shin Technique embraces the principles of the “Bel Canto” during the foundational stage but extends to more speech-dominant qualities like legit, mix and belt at the later stage.
Le jeu is an extremely important concept: it has at least two big areas of meaning.
(A) The ability to react, the attitude of the performer of reacting to everything that happens on stage. There is a relationship between the body and the space where it exists.
(B) But there is also another area of meaning, that is the pleasure of the artist. The performer must enjoy the event, and if he doesn’t enjoy it, somehow it doesn’t work.
Play is nothing more than an idea followed by an action where the outcome is not yet known until the action is taken.
If the "work" is playful it becomes pleasurable, and when you are enjoying yourself, you get bolder and take more risks.
Due to the risk of failure. Many students have come into my studio expecting me to give correct answers. Singing and acting is not about getting things right. It’s about embracing a process and being always active in the problem solving mode.
The more our body and mind embrace this process, the more creative, confident and expressive we are as performers (more in terms with ourselves as a human being as well).
Just do it and then analyse later. The exercises are organized in a way to help your understand (soma) and replicate it when required. Body learning and critical listening is crucial in voice learning.