Conexive Method of Singing®

 

Conferences, seminaries, workshops, private lessons, group lessons

 

A new concept in vocal technique oriented toward anyone interested in learning the inner "secrets" in the functioning of the human voice.

Spanish version

 

 

 

The Conexive Method of Singing® is a method of study that teaches control of the voice box through techniques based on the optimization of the natural processes that govern vocal activity.

Is it different?

Definitely. This method explains and demonstrates the mechanisms of correct voice production.

Our claims are based on the following points:

  • The hierarchy of voice production

  • Breathing technique

  • The connection

How are these new solutions presented?

Through a methodology based on scientific criteria and empiric knowledge of vocal dynamics. The voice is a product is of different variables that can be submitted to new rules of learning to offer several clear, effective solutions.

Doesn't this method sound too scientific and not very "artistic"?

Belief in the false myth that scientific knowledge is not necessary to sing is what makes the majority of singers ignorant of how the vocal instrument works and therefore, lacking in appropriates tools for visualization. Knowing what really happens in the body during singing, facilitates the process of harmonizing mind and body so necessary for dominating the voice. Only with this control can high artistic goals be met.

The philosophy of the method is specific answers to specific questions. Aren't you tired of listening to the same answers to your questions? How many times have you heard in answer to your difficulties that what you need is support?

Clichés like appogio, are not in our method.

       But, do I need the method when I can obtain scientific data from abundant specialized literature?

The field of physiology of the voice has many unanswered questions. Anatomical knowledge of the voice box does not assume knowledge of the "mysteries" of the way the way the voice works.  Our goal is precisely to clear up the many doubts that still persist in this subject.

Who is it for?

Anyone who has doubts about his or her vocal activity. Not only singers, but persons who have voice fatigue problems in speech.

And specifically for you, Singer: if you have problems with your voice, remember that is useless to love singing desperately, to be disciplined and serious in your studies if your guide is inadequate, or what's worse, erroneous. With more practice, you will only reinforce incorrect, unhealthy vocal patterns.

 

Of course there is, but it's necessary to be absolutely honest with ourselves. Above all, we must realize that it's no use loving singing desperately, nor being disciplined and consistent in our studies, if we have a guide who is inadequate or, worse still, mistaken. But how can we assess ourselves objectively? How do we know if we're going along the right path or not? How can we forecast the effectiveness of our studies?

VERY SIMPLY, ANSWER THE FOLLOWING QUESTIONS:

  • Is my training difficult and do I feel that I still have a long way to go?
    DON'T WASTE ANY MORE TIME, THIS MEANS THAT YOU ARE ON THE WRONG PATH. GIVE UP THOSE STUDIES AND REMEMBER THAT YOU, AND NOT THE MAESTRO, ARE THE MOST IMPORTANT.

  • Do I sometimes feel good but bad most of the time?
    AGAIN DON'T WASTE ANY MORE TIME, THIS IS NOT THE RIGHT PATH. SINGING SHOULD BE A LOT EASIER.

  • Do I sometimes feel bad but good most of the time?
    IT'S VERY PROBABLE THAT YOU HAVE A NATURAL GIFT BUT YOU DO NOT HAVE AN ADEQUATE KNOWLEDGE OF YOUR MUSICAL INSTRUMENT.

  • I always feel good and I love singing.
    CONGRATULATIONS! ALWAYS FOLLOW THE DICTATES OF YOUR ORGANISM AND REJECT EVERY THEORETICAL COMPLICATION WHICH CAN MISLEAD YOU.

And now, with all sincerity, which of the questions is most applicable to you?

If you are any of the first three, this method is for you. Remeber that understanding and being able to put effective techniques into practice will give you the strong sense of secutiruty that you need to sing, since only by dominating our instrument can we control it, and not, as is usually the case, be controlled by it.

 

This method originates from the collection of techniques developed by the teacher Conchita Ormaechea. Since 1994, the FUNDACIÓN ENSAMBLE ALBÉNIZ, an institution subsidized by the INSTITUTE OF CULTURE of Venezuela, CONAC, has backed and sponsored investigative research through seminars and workshops, in which more than 2,000 people belonging to different musical and theatrical associations and with varying levels of vocal education (from lyrical soloists and choristers to actors and teachers) have taken part.

In 1999 a statistical study was carried out in 9-hour workshops on 112 persons of both sexes aged 15 to 65 years and different levels of knowledge of vocal thecniques. This was the result:

        1. How would you evaluate the method's breathing technique?

                    Very good            79%

                    Good                   21%

                    All right                -----

                    Poor                    -----

2. Where you able to make the connection?

                    Yes                      61%

                    No                       39%

3. Did you feel any control over your vocal instrument?

                    Quite a lot            57%

                    Not very much     32%

                    None at all           11%

Since the year 2000, the method is being promoted worlwide.

Rapid understanding speed

  • The first and most obvious advantage between this method and other theories on the teaching of singing is the rapid understanding speed. As soon as students begin to study this method, regardless of whether they are complete novices or are more experienced, "talented" or not, all will understand the fundamental principles of the vocal mechanism and how to put it into practice.

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    Independence of practice

  • The second advantage lies in the independence which the student acquires when using this method, since the techniques taught are based on self-control exercises which students can practice on their own without any risk.

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    Self-confidence when performing

  • The third advantange is the gain in self-confidence which we acquire when singing. What normally happens is that we have no control over our vocal instrument, but by using this method we learn how to consciously control our voice.

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    Through seminars and 9-hour workshops. Follow-up classes are available only after becoming familiar with the method.

     
    mailto:cms@conexive.com

    Spain: Plaza Tirso de Molina 5, 4º izq. 28012 Madrid,

    Phone: 91 369 07 39 and 677 211 303

     

    Venezuela: telefax 0058 212 4420651

     

     

     

    ©Copyright 1998-2005. Concepción Ormaechea