Singing lessons & vocal coaching

The singer: a versatile one 

During many years (not to say centuries), and still now, the teaching of singing has been submitted to a lot of rules, essential for some, but dogmatic and obsolete for others. 

Depending on the teacher which we consult, according to his origins and affinity, the teacher will lead to what we call “The singing schools” which are French, German, Russian….

These schools, as dogmatic as they are, don’t have their places in the establishment of a singing technique for the singer of the XXIst century : they confine to a vocal set-up regarding to a precise repertoire but they are not necessarily physiological in their mechanisms.

The basic interest of a vocal technic consist to a hyperoxygenation of the human body.

Generally, a human, at rest, consume 0,5L air by breath and this 12 to 15 times per minutes, between 6L and 7,5L air per minutes.

While we’re singing, this rate is multiplying easily by three, around 20L air per minutes (the same as the sportsmen). The singer is considered as a high-level athlete, it is the role of the teacher to prepare the student to this hyperoxygenation mechanism. For example, in the classical conservatories, it is inadvisable to teach the virtuosity before the 5th year of study…. This is a total nonsense insofar as, approaching the virtuosity as soon as possible, is the best way to train the singer in an approach of a safe and deep vocal technic. 

What will allow the virtuosity and this specific hyperoxygenation ? Using the diaphragm, therefore the sustain ; placing of the staccato together with the legato ; faster progress regarding to the lower abdominal musculature (transversus and obliques muscles), et cetera.

Beside this, it still remains a difference between the “classical repertoire” and the “modern repertoire”, either because a pseudo elitism of the classical singers on the other repertoire, or because the image that technic is not the same between a singer who leaned at the conservatory or a singer who learned in a modern music school … 

Do not get me wrong : I speak here about TRUE singers and not about “professional of the amplification and vocoder” (those are not singers for me… You cannot give a microphone to a cat which is mewing and say that it is a singer …)

What will stop a pop singer with a good vocal technic (let me take the example which will be the most interesting with an excellent technique : Christina Aguilera) to sing opera ? Or rock ? Or folk music ? 

Is there a technical legitimacy to say that because she is classified as a pop singer, she doesn’t have the right or the possibility to break free of the conventions and make something else ? 

NO ! The question is not about technic in this situation, but about aesthetic that we choose to give to our voice in accordance to we want to hear ! 

Let us assume a general point of view, and let us go step by step deeper if you want : the technic is the same for all the singers : the instrument is the same (in spite of the anatomical differences for each of us), the sound is produced by the vibration of the vocal cords (the influxes of air open and close the vocal cords and handle by the sub-glottic pressure), activated by the air which comes from the lungs and that go out from the mouth…In the absence of evidence proving the contrary, it is UNIVERSAL.

And thus, where come the different emissions that we hear (in all music) ? From a singing school that the dogma will say that it is the good way ? From a egocentrism difference of one type of music which would prevail over the others ? 

None of this ! Everything happens obviously around the larynx, and more precisely about what we will call the “vocal tract” or the “voice channel” who spread from the glottis to lips.

But ! You’re about to tell me that the singing schools technics “are still vocal technics” because they will talk about the larynx, and about all the aspects what we know ! YES AND NO ! They will talk about a particular form of technic, yes, but oriented to a specific aesthetic. 

What I defend, and what I always have defended, is a global technic whether it is for the French repertoire, German, Swedish, Russian, Italian, Rock, Pop, Soul, Gospel and everything you want ! 

But this instruction cannot be done without a perfect knowledge of the anatomy and physiology of the human body, and especially of ANY components of the vocal tract ! 

See for yourself, if you have the curiosity to visit this website, you will easily note that I sing equally in Tenor, in Haute-Contre, in Countertenor, Rock, Soul, Gospel, et cetera. In the absence of evidence of the contrary, I’m neither an alien nor a mistake of the nature, just a proof that what is mostly taught is just an error of judgement, and maybe an absence of open-mindness (at least).

Just a last thing ! In my opinion, it’s essential to say before I end this presentation : respect of the student ! Listen to him and don’t judge the student, whatever the situation ! 

Respect his beliefs and apply this attitude to every student. It is one of the royal way to succeed.

To contact me, go to the contact form.

Looking forward to meet you and your voice.



Discover biography of Karl LAQUIT