The workshops and Master Classes on offer will cover both theory and practice and will be based on some of the core concepts that have been derived from practice.
The act of singing is an encounter between opposites and a game of contrasts. The voice is both INTERNAL and EXTERNAL, it is immaterial, volatile and fragile. It cannot be seen.
It is interesting to realise that the body does not have an organ whose sole function is to speak or sing. The voice is produced by an intricate mechanism that is formed by the larynx, the ear, the tongue, the diaphragm and tens of additional muscles and limbs. The workings of this instrument are not accessible to the naked eye and our perceptions of speech, and even more significantly singing, are consequently shaped in a blind spot dominated by our subjective senses. These senses are difficult to identify and replicate. To control such a mechanism we need to integrate its use into our subconscious so that we don’t think about the different pieces that make it up while we sing. So that we can forget them and automate them.
Whether the ultimate aim is musical, expressive, poetical or communicative, everybody can sing well and enjoy experimenting with the voice without damaging the instrument. To let go and release your voice freely, beautifully and genuinely training is essential. This discipline should have three pillars: educating the ear, controlled breathing and corporeal awareness.
WHAT is sung is not as important as HOW it is sung. Technique for technique´s sake, however perfect it may be, is not enough. Technique is of crucial importance, how could it not be? But singing is not an aimless act, and the aim is not to exhibit talent in a compulsive or strictly experimental fashion as if showcasing capabilities to an audience. “As long as there are signs of technique at all, the picture is unfinished” wrote Oscar Wilde. The same happens in singing. It is through a conscious effort and repetition that different, new and genuine sounds can be reached. This is the only way to transcend technique and leave it to memory.
The workshops are aimed at all types of people, not just music and vocal professionals. They are equally appropriate for those interested in pure vocal practice for the simple pleasure of singing, exploring and experimenting with their voice to enrich their everyday and creative processes, as they are for those interested in pursuing musical, theatrical, poetic or pedagogical professional development. The groups could therefore be diverse and interested in an interdisciplinary approach to the study of the voice. The ability to read music sheets with traditional annotations is not a requirement. Students will receive guidelines to build graphic music sheets using an abstract, personal and intuitive language.
These workshops are often delivered in collaboration with the organisers. For vocal advice and personal training sessions or workshops for actors, singers or solo performers you can email email@example.com
The number of students in each session will vary between 10 and 14, depending on the length of the workshop.
AIMS and GOALS
NOTE: for a broader format that includes an introductory concert, please see the section under Concert-Master Class