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The Applicability of the KTVA Method to Operatic Singing
Hello my dear divas and dudes,
In another thread Bob asked me about the applicability of the KTVA method to operatic singing.
I decided to answer his question in depth as some people have asked similar questions.
So if some might believe that I am getting ahead of myself, just bear with me a little
The objects of this post are going to be the following:
- The definition and anatomical explanations of the "appoggio technique" and it´s use in operatic singing
- The use of the "appoggio technique" in contemporary singing
- The KTVA method and operatic singing
As some of you might already know I am very fond of "pure appoggio technique" when it comes down to operatic singing but not a big supporter of it regarding the dimensionally correct singing styles of contemporary music.
I am going to write from the way the voice is anatomically designed to work and will in the course of that naturally leave any bias, which is often evident when other classical singers discuss contemporary singing at the door as I have experience in both sides of the (respectively very same) coin.
I would like to make something very clear beforehand. When I refer to operatic singing I mean the old art of belcanto singing without the use of microphones as one of the major reasons for the implementation of the „appoggio technique“ is the need to powerfully and consistently project the voice. This is why I would like to discuss the use of the „appoggio technique“ in the context of operatic singing .
At first I would like to clarify what I mean when using the term of "appoggio technique".
To keep it simple one could define it as the way of singing that enables the individual to sing in one single register
through a specific use of support that makes it possible to entertain the balanced chiaroscuro quality of the sound throughout that register while maintaining the natural placement of one´s voice.
Of course to really understand that definition one needs to understand the information that underlies it and for that matter I would like to take the freedom to explain it´s terms in detail.
First I would like to elucidate the ever illusive term of "supporting the APPOGGIO way".
I have a basic understanding and knowledge of the italian language, which leads me to feel unbearable headaches whenever I read or hear the term "supporting the appoggio way" as "appoggiare" by itself means "to lean upon" or simply "support", which makes that term a logical mistake in itself (supporting the support way...... does not make any sense). The broad term of "appoggio technique" has it´s practical use, though, as it stands for using the support mechanism as the sole way of controlling the voice.
Without going into the specifics, appoggio directly refers to the "sandwich effect" Bob has talked about.
This effect occurs when the inward push of the lower abdominals is balanced by the diaphragm (the area of the solar plexus moves outward) while the expanded ribcage stays expanded (Ken pragmatically refers to it as a pillar). Some of you might ask yourself where the explanation of "pushing down" comes from when the objectively correct movement of proper support is multi directional.
The explanation is a simple implementation of cause and effect.