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Schimbarea vocala la baieti

Schimbarea vocala este un episod foarte important in viata unui tanar care doreste sa imbratiseze cariera de cantaret. De multe ori aceasta schimbare este privita cu frica deoarece nu se stie niciodata cum va suna vocea dupa schimbare, daca va mai avea aceleasi calitati, aceiasi flexibilitate.

Ce este schimbarea vocala ?

Schimbarea vocala este un proces care presupune schimbari la nivel fiziologic in perioada pubertatii ce atrage dupa sine schimbarea tonalitatii vocii. Incepe la varsta de 12 ani si poate sa dureze de la cateva luni la cativa ani. Laringele incepe sa se ingroase, marul lui Adam iese din ce in ce mai mult in evidenta, oasele fetei incep sa creasca si in final vocea coboara cu o octava. In perioada pubertatii, unii tineri distoneaza (au dificultati in stapanirea vocii), iar vocea cantata este aproape imposibila. Pot trece in cursul rostirii unei fraze de la sunete joase la sunete foarte inalte, uneori cu pauze de afonie, adica pur si simplu fara voce.

Recomandarea este Pauza Vocala !

Este bine ca in aceasta perioada sa se faca o pauza vocala indelungata. Cei care iau in calcul continuarea unei cariere de cantaret ar fi bine ca in acest rastimp sa se ocupe cu studiul unui instrument. Acest lucru ii va ridica pe o treapta superioara in categoria muzicienilor.

De ce este necesara pauza vocala?

Incapacitatea de a controla emisia sunetului poate duce la confuzii si, din dorinta de a gasi solutii, tanarul este tentat sa forteze laringele. Fortarea laringelui poate atrage dupa sine complicatii si o dezvoltare nefireasca a reflexelor de emisie vocala.

Cat timp e bine sa se faca pauza vocala ?

Ideal ar fi ca studiul aprofundat al cantului sa inceapa de la varsta de 18 ani. La aceasta varsta corzile vocale sunt pe deplin formate si se poate incepe antrenamentul vocal total. Este totusi posibil ca un tanar de 16 ani sa fie déjà format si apt pentru concursuri gen  Vocea Romaniei, X Factor sau Romanii au talent care promoveaza voci tinere sau chiar foarte tinere. Totusi, exista o profilaxie a vocii – care urmareste starea indelungata de sanatate a corzilor vocale, prelungirea carierei vocale – care ne indeamna sa tinem cont de faptul ca corzile vocale nu sunt formate pe deplin pana la varsta de 18 ani.

Ce se intampla daca nu se face pauza vocala ?

Tot ceea ce un cantaret reuseste sa faca inainte de maturizarea vocala va fi supus schimbarii. Nimic nu este stabil de la o zi la alta, culoarea vocii se schimba, volumul vocii se schimba si repertoriul abordat va fi greu de reluat dupa maturizarea vocala. Pericolul de a dobandi reflexe gresite este foarte mare.

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Male voice change

Voice change is an important step in the life of a young man, if he decides to pursue a musical career. many a times thi change is looked at with fear, because one can never guess what the voice will sound like after it changes, if it will have the same features, the same flexibility.

What is the voice change ?

The voice change is a process which implies physiological changes during puberty and which also brings a change in the voice colour and tone. It begins around the age of 12 and it can last from a few months to a few years. The larynx will thicken, Adam’s apple will start to become more obvious, the face bones will begin to develop and finally the voice will descend by one octave. During puberty, some young men will sing off-key (they have difficulties in controlling the voice),  and it can be impossible to sing. They can go, in a phrase, from low sounds to high sounds, sometimes with moments of aphonia, meaning there is simply no voice.

I recommend vocal rest !

It is best that during this period men take a long vocal break. Those who are considering a vocal career should rather during this time study an instrument. This exercise will give them an advantage to other singers.

Why is vocal rest necessary?

The inability to control the sound emission an lead to confusion and, while trying to find solutions, the young man might be tempted to force the larynx. Forcing the larynx can lead to complications and an unnatural development of vocal emission reflexes.

How long should  a vocal break be ?

Ideally, a thorough vocal study should begin around the age of 18. At his age, the vocal chords are completely developed and a young man can begin full vocal practice. It is however possible that a young man at the age of 16 has already matured vocally and is ready for vocal contests such as X Factor, The Voice and so on, which promote young and very young talents. Still one should take care of one’s voice – in order to preserve the health of the vocal chords and a long vocal career – and we should keep in mind that the vocal chords are not fully developed before the age of 18.

What happens if you don’t take a vocal break ?

Everything a singer is able to perform before the voice matures is prone to change. Everything can change from one day to another, the voice colour will change, the volume of the voice and the repertoire will be difficult to tackle after the voice matures. There is a high risk in acquiring unappropriate vocal reflexes.

Iata ca de multe ori dorinta de a invata sa cantam corect ne impinge de la spate fara discernamant. Avem impresia ca orice persoana angajata intr-o institutie pe post de profesor de canto,  trebuie sa aibe calitatile necesare unui pedagog, sa posede o tehnica de cant foarte buna si sa aibe experienta necesara. De multe ori trec mari perioade de timp pana sa ne dam seama ca alegerea facuta nu a fost cea mai reusita.

Exista o legatura foarte stransa care ia nastere intre profesor si student iar studentul este tentat sa-si incredinteze nu numai vocea dar si formarea caracterului in mainile maestrului sau.

Exista diferite tipare psihologice in care se inscriu profesorii si, fara sa insist asupra lor, voi da cateva exemple mai des intalnite.

– profesorul exigent este cel care face studentul sa se simta prost daca nu reuseste sa execute ceea ce i se cere. De multe ori e posesiv si agresiv si asteapta ca studentul sa adopte total parerile si principiile sale. Se potriveste cu persoanele care dau randament cand lucreaza sub presiune.

– profesorul distant este cel care nu are timp de discutii cu caracter personal si se rezuma strict la profesie. Acesta nu va lupta niciodata pentru studentii sai, ii va lasa sa se zbata singuri in fata piedicilor. Se potriveste cu persoanele timide sau introvertite. Pozitiv este faptul ca studentul invata destul de repede sa nu se bazeze decat pe propria persoana.

– profesorul prietenos care se apropie sufleteste de student si cauta sa fie un fel de exemplu de viata pentru el. De multe ori acesta asculta confesiunile studentului si cauta sa il sfatuiasca. Se formeaza o legatura personala foarte stransa. Se potriveste cu cei care cauta mai mult decat un profesor, cauta un mentor pe care sa il admire si sa il pretuiasca.

Dar dincolo de aceste tipologii, studentul e bine sa tina cont si de alti factori in momentul in care isi alege profesorul.

Iata cateva principii care ne pot ghida :

– profesorul da dovada de rabdare in explicatii. Este important ca sa intelegem exact ceea ce ne explica si sa nu avem senzatia ca trebuie sa raspundem ca am inteles doar fiindca acesta isi pierde rabdarea. Intr-o ora de canto e deajuns sa intelegem pe deplin un singur aspect si este suficient !

– profesorul de canto nu cere studentului lucruri bizare cum ar fi sa cante cu capul dat pe spate sau sa stea in pozitii nefiresti, sa supuna corpul la un travaliu fizic intutil, indiferent de ce explicatii elaborate ofera. Nimic nu trebuie sa fie nefiresc in cantat !

– profesorul nu impune studentului sa il imite in modul de a canta. Studentul, in general, nu are o voce dezvoltata la nivelul profesorului si incercarea de a il imita il poate duce la o emisie vocala inproprie cu varsta sau cu calitatile sale momentane.

– profesorul se ocupa de student cu toata atentia pe parcursul unei ore/sedinte de canto fara sa fie distras de convorbiri telefonice sau discutii cu terte persoane.

– profesorul de canto se ocupa de un singur student odata. Este o conditie esentiala deoarece este aproape imposibil ca profesorul sa obtina eficienta maxima daca studentii canta in cor.

– profesorul nu impune genul muzical. Desigur, putem accepta sfaturi competente in cazul in care vocea noastra nu se potriveste unui anumit gen muzical. Dar daca ne place muzica jazz si profesorul ne « forteaza » sa cantam muzica populara, ar fi bine sa cerem si o a doua parere.

In incheiere doresc sa subliniez faptul ca de la fiecare profesor putem invata cate ceva care sa ne fie folositor dar aceasta presupune sa avem deja o oarecare experienta.

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Many times the desire to learn how to properly sing pushes us from behind with no ability to discern. We are under the impression that any person holding the position of a vocal teacher in an educational institution must also have the qualities of a good educator, must master an impeccable singing technique and must have the proper experience. Often, it takes a while before we realize whether our choice of  a vocal coach was a good one or not.

There is a strong connection between the teacher and the student and the student is tempted to entrust not only his/her voice but also the shaping of his/her character to the master.

There are different psychological patterns which can describe a teacher and, without insisting upon them, I shall list a few frequent examples:

– The exigent teacher is the one who makes the student feel stupid if he/she cannot execute what is being asked of them. Often, this teacher is possessive and aggressive and expects that the student to completely embrace his principles and opinions. It is a good match for the persons who work best under pressure.

– The distant teacher is the one who has no time to talk to the student, sticking strictly to professional topics. This teacher will never fight for his students and he will let them struggle by themselves. It is a good match for the introverts and the shy. A good thing about him is that the student learns quickly never to rely on anybody other than him/herself.

– The friendly teacher is the one who tries to make a connection with the student and he tries to be a role model for the student. Often he listens to the student’s confessions and tries to advise him/her. There is a very strong bond. It’s a good match especially for those who search for more than a teacher, a mentor to look up to and to admire.

But beyond these descriptions, it is best that the student takes into account other factors when he/she chooses a teacher. 

Here are some principles we can use for guidance:

– the teacher must be patient in his explanations. It is very important that we understand thoroughly what he is explaining to us and not be under the sensation that we must act like we understood only because the teacher is loosing his patience. During one lesson it is enough that we understand just one aspect, that should be sufficient!

– the teacher does not require strange hings from the student’s part such as singing with his/her head tilted backwards or standing in unnatural positions, to put the body under unnecessary physical stress, regardless of what elaborate explications the teacher might give. Nothing should be unnatural about singing!

– the teacher does not make the student imitate his style of singing. Generally, the student does not have a voice that is developed to the same level as the teacher’s, so the attempt to imitate him might lead him/her to an improper vocal emission, inappropriate to his/her age and vocal qualities.

– the teacher focuses on the student with all his attention during class without letting himself be distracted by phone calls or discussions with other persons. 

– the teacher focuses on only one student at a time. It is an essential condition because it is almost impossible the the teacher obtain maximum efficiency if his students all sing at once. 

– the teacher does not enforce a certain musical genre. Certainly, we can accept reasonable advice if our voice is not suitable for a certain musical genre. But if we like jazz and our teacher “makes” us sing folk music, it is best that we seek a second opinion.

In closing, I wish to stress the fact that we can learn something useful from every teacher, but this requires that we already have some experience.

CE INVATAM LA ORELE DE CANTO?

Orele de canto presupun un efort fizic complex. Vocea naturala poate fi dezvoltata la capacitatea ei maxima pe parcursul a mai multor ani de studiu si necesita antrenament sustinut si constant. In timpul antrenamentelor, vocalizele executate urmaresc mai multe obiective:

Imitarea sunetelor emise de un instrument.

Aceasta presupune emiterea sunetului auzit la pian sau la alt instrument, este practic un antrenament al auzului si al redarii sunetului auzit.

Intonatia corecta.

Presupune emiterea sunetelor unei vocalize sau a unei melodii in mod corect, practic este antrenamentul pentru a nu canta fals intonational.

Emisia sunetului cu ajutorul rezonatorilor faciali.

Se invata senzatia prin care sunetul ajunge sa se amplifice cu ajutorul rezonatorilor, fara efort, conducand vibratia spre spatele nasului.

Respiratia costo-diafragmala.

Pe langa exercitiile de respiratie care se invata si se fac in particular, cu ajutorul vocalizelor se urmareste dozarea exacta a aerului expirat si a presiunii formate de diafragma pentru fiecare sunet in parte.

Extensia vocala.

In afara zonei de confort, vocea poate fi extinsa spre sunete mai inalte si mai joase. Vocalizele reusesc sa obisnuiasca musculatura cu sunete din ce in ce mai inalte si, in timp,  cantaretul reuseste sa dobandeasca doua pana la trei octave, chiar si mai mult.

Identificarea registrelor vocale si folosirea lor optima.

Vocea umana are diferite registre: registrul de piept, registrul de cap, mixtura intre cele doua, falsetul si falsetul intarit pentru vocile barbatesti.

Rezistenta in timpul cantatului.

Cu ajutorul exercitiilor care se desfasoara timp de o ora cu pauze din 10 in 10 minute,  se formeaza o rezistenta a organismului in timpul cantatului, oboseala aparand din ce in ce mai rar.

Folosirea microfonului.

Microfonul are anumiti parametrii cu care cantaretul trebuie sa se obisnuiasca pentru a reda cat mai bine calitatile sale vocale. Necesita antrenament in acest sens.

Transmiterea emotiilor cu ajutorul cantecelor/ariilor.

De multe ori inhibitia este o bariera in calea actului artistic. Gesturile pot fi necontrolate, mimica si mesajul corporal poate fi ridicol si necontrolat. In orele de canto acestea se pot corecta; deasemenea antrenamentul gesturilor si insemnatatea lor pot fi insusite prin exercitiu.

Alegerea repertoriului corect in conformitate cu calitatile si limitele fiecaruia.

Cele mai marei greseli se produc in momentul in care alegem un repertoriu gresit astfel incat nu reusim sa aratam intreaga noastra capacitate de exprimare prin cant.

Progresul depinde de inteligenta, tenacitatea, concentrarea, implicarea, motivarea, capacitatea de munca si talentul fiecaruia in parte. Nu exista o reteta exacta pentru succes!

Cu toate acestea, se spune ca necesita 1% talent si 99% munca!

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WHAT DOES VOCAL TRAINING TEACH US? 

Vocal training imply a complex physical effort. The natural voice can be developed at a maximum capacity over a number of years of study and it requires constant exercise. During the training, the vocal exercises aim multiple goals:

Imitation of the sounds of an instrument. 

This means vocally rendering a sound played by the piano or another instrument, it is practically an exercise for the hearing and for rendering the sound heard.

Correct intonation. .

It implies emitting the sounds in a vocal exercise or a song in a correct manner, it is practically the exercise for not singing off key.

Emitting the sound with the help of  facial resonators. 

You learn the sensation through which the sound amplifies with the help of resonators, effortless, by sending the vibration in the back of the nose.

Costal-diaphragmatic respiration. 

Besides breathing exercises which you learn and perform separately, the vocal exercises also aim at obtaining an exact dosage of exhaled air and the pressure of the diaphragm for each sound in particular.

Vocal range extension 

Outside of your comfort zone, the voice can be extended towards lower or higher sounds. The vocal exercises will help the muscle get used to higher and higher notes, and, in time, the singer will be able to reach 2 or even 3 octaves, or even more.

Identifying vocal registers and their optimal use.

The human  voice has different registers: the chest register, the head register, a mix of the two, falsetto and strengthened falsetto for male voices.

The resistance during singing. 

Wit the help of exercises which should be an hour long with breaks every ten minutes, you shall obtain a strength of the body during singing, fatigue occurring very seldom.

Using the microphone. 

The microphone has certain parameters with which the singer should get accustomed in order to make the best use of their voice. This requires training.

Communicating emotions through songs/airs. 

Often, inhibition is an impediment for the artistic act. Gestures can be uncontrollable, mimics and the body language can be ridiculous and uncontrollable. During vocal training, these can be corrected; also, the training of the gestures and their meaning can be obtained through exercise.

Choosing the correct repertory, according to the qualities and limits of each performer. 

The biggest mistakes occur when we choose an unsuitable repertory, thus not being able to show our full capacity of expression through song.

You progress depends on the intelligence, the tenacity, the concentration, the level of involvement, the motivation, the work capacity and the talent of each. There is no recipe for success!

The saying is: 1% talent and 99% work!