Solve your vocal problems with functional voice training
Why?
If you are struggling with high notes, low notes, register break, vibrato, breathing...
How?
By developing and integrating your vocal registers through functional vocal exercises based on physiological principles of the 17.-19. century operatic tradition
Your benefit:
By establishing a better balance in your vocal organs, your voice will work more efficiently. Your range will expand, throat constrictions will be released, difficulties with your passaggio will be solved and your vibrato will normalise. You will be able to express yourself more completely and communicate in a more effective way: The ultimate goal in singing.
It will change your (vocal) life!
Ideal for your operatic voice
Functional Voice Traning, as described by Cornelius L. Reid, is just another name for the classical voice trainig method of the 17.-19. century. This training method laied the foundation for belcanto and verismo. It focuses on the development and integration of the two basic vocal functions: Chest register and falsetto/head register.
This method differs fundamentally from contemporary methods that use concepts such as "projection", "diaphragmatic support" and "resonance" (which often leads to wobble, tremolo and throat constriction).
Don't accept the status quo. Reach your full potential.
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classical voice training <-> functional voice training
The Problem
Voice training is the art of gaining control over an organ system whose components largely react involuntarily.
In order to resolve this contradiction, imagery and mechanistic instructions are often used (nasal resonance, singing into the mask, lifting the soft palate, pulling in/expressing the belly)
This confuses cause and effect: For example, vibrational sensations and sensations in the throat and torso when singing are the result of good singing technique, but conversely cannot produce a good voice without further ado. They are therefore the result and not the starting point.
There are many myths about the benefits and harms of certain singing exercises that are based on scientific half-knowledge. These myths prevent efficient voice development and can lead to a voice that sounds artificial.
With the approaches described above success is unpredictable. Many singers see the fault in themselves and lose faith in their own talent. Or they recognize the mistake in the teaching method and repeatedly change teachers and experience disappointment again and again.
The Solution
In contrast, there is the classical school of singing of the 17th-19th centuries: the voice is an organic system that regulates itself. It consists of two basic functions (“registers”, chest register and falsetto). These are strengthened separately and then brought into a favorable balance. This is achieved through simple tone sequences on suitable vowels (a, e, i, o, u). The structure of the exercise elicits a predictable response from the voice. Depending on the combination of pitch, intensity and vowel, one function can be isolated and strengthened or both functions can be brought together in a new balance.
The principles of this voice training method were systematically described by Cornelius L. Reid (1911-2008) under the name “Functional Voice Training”. Basically, it is a technical and artistic tradition, like violin making and ballet training, which is only mastered by a few people today. It is crucial that the teacher has a trained ear and a deep understanding of the functional principles of the singing voice. A prerequisite for the student is open mindedness to new concepts and changes.
Don´t go for subjective imagery and pseudoscience. Go for craft.
more detailed explanations
Both basic functions (registers) are always active when singing. The falsetto/head voice function dominates for high notes and the chest register for low notes.
The two functions can be trained separately for training purposes.
Isolated, the two registers have the following characteristics:
Falsetto:
- range: B below middle C up to the octave above
- breathy, hollow sound
- responds particularly well to the vowel "oo"
chest register:
- range: lower tones of the vocal range, highest note E above middle C
- rough, coarse sound
- responds particularly well to the vowel "ah"
Isolated, the two functions have little aesthetic value in classical singing, but are very helpful for voice development. If they are brought together again through suitable exercises, a balanced, resonant voice can be developed.
history of voice training
The classical vocal technique developed towards the end of the 16th century and is closely linked to the emergence of opera. The discovery that the two vocal registers could be developed and combined made it possible to give the voice unprecedented expressive possibilities. The range of the voice, volume, agility and emotional differentiation took on new dimensions. This inspired Baroque composers to create exuberant vocal compositions and led to the age of bel canto. The music of the Classical, Romantic and Verismo periods can also only be adequately sung using this vocal technique.
At the turn of the 20th century, new singing methods emerged. Innovative approaches were hoped to help achieve quicker results. In the 60s and 70s, the studio recordings led to unrealistic ideas about how singing voices could sound. People now expected vocal sounds in the opera house that were easy to produce in the recording studio with the help of amplifiers, but which could not be produced effectively in a large opera house without amplifiers. All this led to classical training based on the two basic functions being forgotten.
As a result, many people today complain that the great operas are no longer sung appropriately. For many people nowadays, opera singing often sounds artificial and difficult to understand. Nevertheless, there are still singers today who, either through good training or natural talent, not only amaze their audiences, but also deeply move and inspire them with their voices.
Your problems will not be solved by themselves. Don't hesitate. Let's get it done.
about
At the age of seven, I joined the children's choir of the Komische Oper Berlin and was active both in the choir and as a soloist.
Later I took singing lessons with Prof. Marianne Fischer-Kupfer and was a junior student at the Hanns Eisler Hochschule für Musik in the class of Prof. Scott Weir.
During my medical studies, I deepened my understanding of voice physiology and learnt at the Charité in the Clinic for Phoniatrics (diagnosics and treatment of voice disorders). This was followed by five years of further training in Functional Voice Training with Thomas Maxeiner. My personal interest lies in the art of singing of the ‘golden age’ with the likes of Emmy Destinn, Nelly Melba, Claudia Muzio, Beniamino Gigli, Mattia Battistina, Pol Plancon and so on.
Through my background I have both perspectives on the voice: the scientific-therapeutic and the artistic point of view.
Let me assist you in solving your personal vocal issues and help you to develop a spontaneous, expressive and resilient voice.
© 2024 Jonas Hadizadeh
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