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Vocal newsletter - N.35 - September 2024 - - - - - - - - - - - Ciao reader,
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How are you ?
I hope you had a good summer and you enjoyed it.
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Holidays are finished, but I'm as usual excited to begin a new season full of singing and improvisation!
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I'm planning new workshops and concerts around Europe, starting with October 11-13 when, as already announced, I will be back in London, teaching and performing with my great friend Guillermo Rozenthuler.
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Then in December 8-10 I will be in Bruxelles teaching and performing with my other great friend Baptiste Vaes.
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Senza Rete
London - Friday 11th October
Guillermo Rozenthuler and Roberto Demo vocal duo
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Then I will be teaching in Guillermo's studio in North London, during the weekend and will also be possible to work with established singing groups on request.
Voicework applied to improvisation through the "Sound and Silence" experience, "The Orchestra in the Mouth", Looping and more.
Workshop timings to be announced very soon.
Please contact Guillermo to register your interest in partecipating asap or Roberto for infos about the workshop contents.
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A new workshop in collaboration with the
TaKeTiNa Master Baptiste Vaes, on 8-10 December in Liege.
Together we will offer a new proposal
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Rhythm, Sound and Silence
An experience of melodic and rhythmic awareness
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In the TaKeTiNa rhythm process as well as in the vocal improvisation practice, silence is an ingredient of extreme importance. Silence could mean no movement or no sound but it could be also that the mind is silent while the body is moving and the voice is singing, allowing us to access our innate rhythmic knowledge and the most surprising and beautiful melodies.
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The TaKeTiNa rhythmic process promotes a more receptive attitude of the singer towards rhythm, showing a path to the natural body knowledge of the pulse, of the binary or ternary subdivision and of the cycles. It helps him/her to create a space inside of deep listening and deep trust that what will come up from this silent attitude is the right musical move.
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The vocal improvisation exercises will develop listening skills, ability to play with patterns and melodies with pauses (silence) at specific points of the measure in order to create musical ideas in unconventional ways. How patterns can be put together in a supportive way in order to create the right vocal
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band for a creative and relaxed solo. How the soloist can play with the silence and also the sound of his voice more like an instrument, using the concepts of The Orchestra in the Mouth and some suggestions from the EVT vocal technique.
The combination of TaKeTiNa and impro practice will benefit to anyone interested in collective singing, ready to broaden their sensory listening, to give voice and presence and to lose themselves in the silence as many times as necessary to give a chance to a spontaneous and authentic singing.
No previous experience of TaKeTiNa and/or vocal improvisation is necessary.
The Friday evening session, led by Roberto, will be fully dedicated to the voice with a specific focus on the efficacy of the silence in circle singing and collaborative vocal improvisation. This introductive part of the workshop can also be followed independently of the week-end as a stand-alone practice.
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A capella Singing
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A cappella vocal singing has ancient roots, tracing its origins to the very first centuries of Western music. The term “a capella” derives from the Italian “in cappella,” which referred to music performed in ecclesiastical chapels without the accompaniment of instruments. This form of singing developed in parallel with the Christian liturgy, where the human voice took on a primary role in worship, giving rise to increasingly elaborate vocal compositions.
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The first traces of a cappella singing are found in Gregorian music, a type of monodic chant that spread to monasteries during the Middle Ages. As the centuries passed, a cappella singing became enriched with polyphony. Composers such as Palestrina and Josquin des Prez, who lived in the Renaissance, contributed significantly to the evolution of this musical form, inserting multiple voices that intertwined in complex harmonies.
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Feedback newsletter
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Approaching the next season, in order to organize my proposals, I would appreciate so much if you could send me a feedback about this newsletter and about your needs on singing and improvisation. If you can dedicate just 3 minutes of your time, this is the link to the feedback form. Feel free to fill it in with all your comments. Thanks so much in advance!
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If you wish to deepen the use of your voice or simply get more in touch with your vocal instrument, these are my online teaching proposals on Zoom.
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Instantaneous composition with a looper (video)
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You can always support me on
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Thank you tippers!
Chiara Ferreri, Rosi Amador, Paola Robotti
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if you are receiving this newsletter, it means that you subscribed it or that some subscriber wanted to share it with you. Thanks in advance for your reading and, if you find it useful for you, please subscribe and help me to spread the word.
Your subscription is the testimony of your appreciation… and this is so important for me!
In these short articles there are all the my passion and love for my work. Research, in-depth analysis and hours of work to fix the graphics to try to offer you something pleasant and useful.
If you like this newsletter, please share it.
A little sharing is a significant recognition of my work. It helps me so much and makes me understand that this type of promotion is possible.
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Thanks for reading ...
And please send me your singing news as well !!
Hoping to meet you again live or online very soon, I send you warm greetings.
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Newsletter archive
If you are interested in reading the last releases, go to the Newsletter archive
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Roberto Demo - studio: via G.Boccaccio 31, Torino - Italy
+39/328/2311080 info@robertodemo.net - www.robertodemo.net
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