Manna

Yet, contrary to what I had been told, this vocal technique only allowed me to sing classical music, and I would often "lose" my voice when singing other styles... it was very frustrating. 

 

So I decided to go work on my singing in the USA where the best teachers in the field were to be found. There, I had the hardest time getting rid of these classical placement reflexes.

 

For the first 6 months, I couldn't sing anymore. I was confused as I had to relearn everything; a real reconstruction.

I stopped singing and only did exercises, patiently, every day, to develop new muscular reflexes, new vocal sensations. After a year, singing, belching, expressing vocally became very easy, very simple, as simple and natural as speaking. 

 

It was at this time that I began to take a close interest in the mechanisms of singing, in the different vocal techniques (which are in fact only different ways of placing one's voice) and especially in the control of breathing, nutrition, the "mental-vocal" relationship...

I began to understand this fascinating instrument, intrinsically linked to our being. 

 

Touring the US clubs with my California band for a year, doing those 5 to 6 nighters, made me develop my voice muscles and endurance like no other technical training could have done. 

I never got tired or lost my voice again, despite the hours I spent singing every day, the lack of sleep, and the long drives from one state to another. 

 

 

So today, my certainties are based on experience:

- from my trial and errors  

- from live performance

- from working in the studio

- teaching and coaching very different people, in various musical styles.

- constantly learning with an open mind 

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I have become convinced that teaching must be adapted to each person and that the singer (or "talker") must be dedicated to and passionate about learning his instrument like any other instrument player if they really want to see significant results.

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The technique I teach is constantly developing, always based on the person’s needs, their way to process and understand things, their situation at this point in time...This is what makes it a unique and effective technique. 

 

It allows to deprogram harmful muscular mechanisms, to untie knots, unconscious emotional blockages that prevent the voice from expressing itself correctly and freely.

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          I have therefore also created a space for the therapeutic aspect of singing and breathing,            which allows the student to achieve deep awareness and inner transformation.

       My belief is that "Everyone has a beautiful voice, as long as it is in tune with one's being ».

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The work on one's voice leads to self-awareness and generally to a deep and lasting personal development.

 - It necessarily leads us to body awareness (our physical instrument) and awareness of what prevents, or restrains our vocal expression.

 

 - Awareness that the voice (sung or spoken) is linked to and depends on our inner state of mind, our inner beliefs, (the voice/body/mental relationship).

 

Working on one’s voice is therefore working on the human being as a whole. It is said to be therapeutic as it can repair/heal/open/attune the whole being, whatever the style of singing or speaking.

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