All people can sing, because they all have musicality, which manifests itself from intrauterine life. The voice is our first instrument and singing shouldn't be a privilege for a few, but an opportunity for everyone who wants to develop this powerful instrument and put their voice in the world.
The more I study and research, the more I realize that the path of teaching singing is also a path of return, of reconnection, of unraveling what each person already is in his essence, in his power, and which he often does not know. This is done through the technical, expressive, creative work and by deepening the universe of music and culture that we do in each class.
After more than 20 years of working with so many different people, from professional singers to people who have never sung, I realize that the Voice work is this deep dive into what each person is most precious, beautiful and which is often asleep, silenced or is screaming to find ways to come out. In this journey, the story and the desires that this voice brings tells a lot and together we outline a work plan.
In practice, this work plan can be returned around three main axes:
Musicality is how we relate to music and communicate through it. It is also related to the culture and styles we identify with. Therefore, the repertoire of interest, the one that best connects to the experience of your life, is the starting point. We start with listening to this repertoire and musical aspects contained in it, such as melody, rhythm, harmony and lyrics. Listening to your own voice in this process is important. Over time, we expanded this listening and musical and cultural references as part of the learning and development process in singing.
The technique here is one of the ways that the person can get to know each other more and more, to know how to use your own voice for what she wants to express.
In this sense, the technical aspects are worked on from the first meeting/class and starts with an assessment and an initial conversation. In this review and conversation I can see how it is possible to align the person's technical development with the desire that she has of expression.
Then, we started to practice exercises and adjust the music. They include, for example, functional exercises for the laryngeal muscles, bodily practices associated with vocalizations or acoustic adjustments within a musical excerpt. The objective of the technical work is to be able to access the music you want to sing in a more organic and fluid way.
I believe that each person's voice carries much of what they are most precious. It is also, whether we like it or not, the transparency of our soul, of our emotions. That's why I believe in a welcoming, listening and creative space to access the genuine expression that each person brings.
In the creative aspect, there are some axes of work such as listening to repertoire, the invitation to get in touch with our ancestry, bodily proposals associated with voice and singing, vocal improvisation games and rhythmic bodily experience. There are many paths that are developed in each class.
Each person has a unique voice and musicality that can be expressed in some way. The search for this voice reveals much of who we are, reveals our essence, our power and can also be a place of healing.
QUESTIONS AND ANSWERS
I'm out of tune, can I learn to sing?
Chances are you already know how to sing. When you sing in the shower or turn on the car stereo at the highest volume and let out your voice, or when you rock your baby with your voice, you are already singing. And the expression of the human voice does not need to be linked to tones in order to be expressive and carry a lot of itself, of the truth itself. But, the experience of alignment with the frequencies, with the tones can also be an experience of discovery, enchantment and self-knowledge. So, if you would like your singing to be more in tune and communicate more of what you want to express, this is indeed a skill that can be learned or better, unraveled, revealed to us, especially through listening. Yes, listening to tones attentively, immersed, and listening to our voice. This skill is also learning to "think with your ears", leave the logical rational aside and surrender to the experience of sound. This out of tune perceived by us as something not beautiful usually happens because we still haven't learned to listen to our own voice with due attention, and also because we don't know our voice in all the notes we want to sing. To tune it, there's nothing like becoming intimate with your own voice! Knowing and knowing the resources it has. Knowing your own voice means knowing how to make certain brain connections that allow us to control the muscles that activate the voice for certain specific frequencies (notes). "Waking up" the ear, voice and brain in these functions is the way to sing in tune. There are ways to train the laryngeal muscles (vocal folds), the vocal tract (resonance) and the ear (musical perception) so that we can emit sounds with more precise tuning. It's a very rich and opening process for the sonorous world of music and our voice.
How long can I learn to sing?
I've worked with many people who unveiled their own tuning in a few classes, but the most important thing is to take your time and respect your own pace of learning, or better yet, of (re)connecting with music. The question we can ask is where do you want to go and what are the desires you have for your corner. And from there we followed this route. It is clear that there is a natural time for maturation of the vocal tract, the muscles that involve the voice in singing, auditory training and tuning. But in just one class you can already feel the difference in your own singing, in your own voice, and in a few weeks it's possible for you to get to know and learn more about your voice and how to use it in a song. Probably, at this same time, you will start to enjoy listening to yourself more and feel much better singing.
Can singing help me overcome shyness and make me express myself better?
Yes. Singing is a form of expression and by developing it you are entering your most authentic field of expression. This is one of the goals of this teaching approach, that is, singing can also be a path to self-knowledge. The better you know yourself, the better and truer you can sing and express yourself. And vice versa.
Your classes encompass many aspects and I believe that's what made me enjoy your work so much. Everything connects, everything is talked about. In a class we talk about voice, body, emotion, science. A mix of content that makes the class much more dynamic and brings much more results. (...) The way I feel and interpret a song today is totally different from how it was before working with you. Especially when it comes to breathing, which we talked about in the first classes. Today I feel much calmer and more secure before any phrase I need to sing
Lucas Pavan, singer and singing teacher
Music Therapy at UNESPAR-FAP
Specialization in Popular Song at Faculdade Santa Marcelina
Master in Music and Education at ECA-USP
Full certification in Jeanie LoVetri's Somatic Voicework (™) singing teaching method
Courses in Cantotherapy in the anthroposophical approach of "Unveiling the Voice"
Workshop with Meredith Monk Ensemble - New York City (USA), 2015
Master Class with Gretchen Parlato (singing and jazz performance), Miami University (USA), 2015
Guitar Instrumental Technician - Presidente Prudente Municipal Conservatory
Transversal Flute Course at UNESPAR - EMBAP
Collaborating professor in the postgraduate course in Applied Music Therapy at Faculdade Santa Marcelina - FASM with the subject Musical Language: Improvisation
Professor of Vocal Technique in the Degree in Music at Centro Universitário Campo Limpo Paulista - UNIFACCAMP (2019).
She was a singing teacher at Canto do Brasil school under the supervision of Regina Machado.
He took courses at Sesc SP with a focus on singing
She was a singing teacher at Senac Santana - SP
Taught the course "Singing the Game" at Casa Tombada in São Paulo
She was a voice teacher for theater at Studio Beto Siveira, Nilton Travessos and Escola SP de Teatro.
She has been a private singing teacher and music therapist with a focus on singing for over 20 years
She is a singer and musician in collective projects and in her solo work. He released the albums "Eu, Você e Maria" (2010, vocal trio), "Naif" (2015, authorial solo), "UMA" (2020, authorial vocal trio), as well as 4 albums with the group Bayaka as flutist (2004 to 2009)