The Method
A river does not need to learn how to flow.
A plant does not need to learn how to grow.
The Appoggio Method trusts the remarkable intelligence of nature within us.. It combines the experiences of traditional Italian vocal art with modern insights from anatomy, physiology, reflex research as well as the nervous system.
More importantly, it transforms this knowledge into direct, embodied experience.
The breath is our master key.
Awakened senses and an ever-deepening awareness of the body are the keyhole.
Each additional key opens another door—not through greater control, but through deeper awareness. Not through pressure, but by creating favorable conditions in which the body can do Not through force, but by creating the conditions in which the body can do what it already knows.
Step by step, a deeper understanding emerges of how breath and voice naturally work together, allowing your voice to unfold into its own authentic sound.
The keys of the Appoggio Method are not rules.
They are invitations: to explore, to experience, and to embody.
The keys
Appoggio is about giving up the voluntary control of the singing process and replacing it by a natural self organization.
For this we need 1) perceptive senses, 2) relevant anatomical knowledge, 3) skilled embodiment, 4) the art of intentionlessness and... 5) enjoyment.
1) When we start our vocal practice, we connect to our sensory awareness. By consciously opening ourselves to sensual perception, we clean the slate for new experiences, which is a prerequisite for growing and developing to the full.
2) Since we cannot see nor feel the main protagonists of our singing (larynx, vocal chords, diaphragm), it is helpful to have clear images of their anatomy as well as a distinct physical understanding of their functioning. I use rubber/fitness bands, (over-)balls etc. to clarify divers functions needed in the singing process.
3) Next we transfer the natural functioning of the voice in the art of singing applying embodiment and traditional belcanto exercises. Through these exercises and vocalises we gain and train the skills needed in the classical repertoire:
equal sound quality, legato, effortless top register, suppleness.
4) Intentionlessness - easier written than sung - means not to interfere with the natural functioning of body, breath and voice. We are born with natural reflexes - breath and voice are two of them. Trying to control these inherently involuntary actions is doomed to lead to pressure, tension, inflexibility and serious vocal problems. This, in return, has a strong impact on the psyche.
5) We consciously practice in an explorative and playful way, because we are convinced that this attitude brings about enjoyment and serious progress.All this results in an effortless way of singing as well as a unique and authentic sound.