when one plays passively from low c to low c# and low c to G on the staff, are low c# and G have the same level of piano? How long do we have to sustain de low c before playing passively the next note? Because When I play the low c and immediately the low c# passively, the two notes have the same level!
Hey Francis, as I explain in the video, the C# will actually be louder than p and the G will be softer. The C# will be closer to the volume of the Low C. Just allow the C# to be whatever volume it wants to be PASSIVELY!
Thanks for your answer.
It helps me a lot because when I see your videos, it seems to me that your low c is very louder than the next notes even with a low c#. For me it is not like that. when I let go passively my breath, the low c is loud and the next notes also, until C on the staff. So now, with your return, I think I have understood well your system and be on the right track.
Hi Francis, I am pleased that you are going well. I am not convinced that you are remaining completely PASSIVE if your Middle C (third space) is as loud as your Low C. If you are totally convinced you are PASSIVE throughout, then that is very impressive 🙂
No it is not so loud but I have the impression that it is much louder than yours when I listen the videos.
So i’am Wondering if my shape is really right. Because I noticed that when my lips are more forward, like a kiss, then the third space C is more like yours. But then my feeling is very strange and the tone seems to me awful!
Actually it is THE difficulty for me; how much do I have to put my lips forward? How can I know that? What are the criteria?
Hi again Francis, you just fell into a trap… you were concerned about the sound…
If you try to control the sound, you are not focusing on pure process. This is using a different part of the brain and there is an element of expectation.
Whilst there is merit in focusing on a beautiful sound of course, that will be done in other exercises.
The Singing C Series is ALL ABOUT CORRECT PROCESS and disengaging the body below the neck when changing pitch; it is a more of a psychological development exercise.
Sticking with the process and sounding bad is the way to develop an efficient approach. We then work on tone purity without compromising the sensation of freedom that we developed when it sounded “bad”.
Let go of any preconceived ideas, explore the new sensations and merely observe whatever sound comes out as a result.
I know this goes against the grain of regular teaching however there are far too many players who sound great but are killing themselves; this will fix that.
Hi again Greg,
Sorry to insist and I hope it’s not boring you. But when I play passively in the singing C exercises, I can put my lips more or less forward and have a sound. How do I know then, without paying attention to the tone, that it is the right position, the right shape?