What is the optimal approach to training the singing voice? Right at the root of it, what are the ideal conditions for optimal tone production and what thought patterns best exploit the physiological strengths of the voice while de-emphasizing (or at least respecting) the inherent limitations?
This month I begin a two part series explaining my concept of an Organizing Principle, a manner of organized thought that elicits a dependably optimal vocal response in the present moment, and that respects the inherent limitations of the neurophysiology of the singing mechanism. Part one introduces the concept. Part two will layout a specific method for implementing this approach in the practice studio.