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Interview Traan Quang you have
La Corte Genova Theater 2 May 2002
I report below something truly unique. Today science has traveled a long way in the physiological anatomical field, take and read this interview, therefore as a historical find where a passionate researcher as Tran has delivered all his life to understand but above all understand himself.
Happy reading
Albert
Reading on his site and some e-mails reached us, we asked ourselves why there are scholars who believe his knowledge of the Kargyraa . Can you explain to it?
They consider my knowledge incorrect, because I sing differently. Is it true or not that all the streets lead to Rome? For example, they create sound in a certain way (sound example) and I create it in a di ff erete (sound example).
It is the Aritinoids that create the pathological voice. Think of the sick people of Aretinoids (while explaining, Traan Quang invites Albert to touch his throat and hear the di ff erences that are created by speaking and singing using or not using the arritinoids).
False vocal cords are not used, but the arritinoids. Thanks to them you have a very powerful sound outside.
With this song, moreover, there could be many results in the re -education of the word of those people who no longer have a voice.
While people normally do not speak with the arritinoids, I can show you I can do it ... as Poppey of the arm wrestling or Louis Amstrong does: these even had polyps! (Sing like Louis Amstrong).
If you know where the part that makes your voice vibrate can transform it. Think of the Tibetan monks.
Many people are convinced that they pray using sub-amusements, but it is not true.
These monks pray with a real voice and sing up to 65-70 Hertz.
At this point, she has explained the di move erences and ways of using stairs on the harmonics.
Example of diatonic scale and pentatonic scale the latter used by the singers of the Republic of Tuva.
In the first example, the scale takes place for progression up to the 12th harmonious in the second, the harmonious 11th omitted. Then highlights examples on the use of the referee and how to omit the fundamental by explaining that the secret of the omission of the fundamental lies in the apnea ... ..
What advice would you give to a person who wants to approach the singing and study of it both in the traditional and harmonious way?
In singing it all depends on what you want to do. If you want to follow the lyrical singing, the classic song, you must not deal with the diphonic song, because the latter allows to develop the harmonics, completely unrelated to the classical harmonic conception.
Introducing the harmonics in the classical conception would be equivalent to ruining the rumor: they must not sing or write notes that do not exist in classical harmonics.
The Deponic song, on the other hand, is very useful for those people who want to have a more beautiful voice; Think of the institutions, teachers, theater actors, politicians, those people who cannot speak.
You have to work to have a voice that captures attention and harmonics are a fantastic tool.
How much for you is the technique a fundamental component?
The Deponic singing technique allows me to have complete control of my body; It allows me to have a concentration and above all to expand my ability to meditation: meditation is nothing more than to follow on something without thinking about anything else.
If you try to keep a harmonious festival without making it vibrate you will get the concentration.
The Deponic song allows me to reach the right concentration in my meditation.
Before a concert is it used to heat the voice or heat the soul, perhaps with meditation?
I don't need to sing, because I already do it on the stage.
Before a concert I let myself go to relaxation, because if you continue to sing you risk in the end of the vocal cords and afterwards you can no longer sing on stage.
It is very important to let the vocal strings rest because they are very fragile.
How long does it train a day?
Five minutes a day, because the diphonic song is not like other vocal techniques.
Since the vocal muscles are swelling, many energies are wasted and it is as if you sang for an hour. So, if you trained for a long time, you would risk having the ropes in fines with the risk of speaking in a way.
This happens because the ropes remain disunited. The vocal cords are not ropes, but muscles: they are currently called, vocal folds.
In your opinion, currently, in Europe, is there a right interpretation of the phonic or harmonious song?
Harmony singing, for me, is not a good term, because all the voices are harmonious.
Without the harmonics you would not have the voice: when you speak you have the harmonics, otherwise it would not come out sound.
There is confusion in the use of the term because we think of imposed harmonics: Directés.
On the use of the latter I do not discuss because everyone makes his choices.
Everyone uses the harmonics as they want, but on a technical, acoustic, curative and above all musical level, when there is a voice without harmonics it is no longer a voice: the harmonics are multiple sounds of fundamental sound.
For this reason, I speak of a pounding or multiple singing and not of harmonious singing.
The Voix Du Monde collection examined several singing styles, for example which one, in your opinion, is the most interesting from an etymological point of view and from an artistic point of view?
It all depends on the preference that a person has. I mean that you cannot discuss neither taste nor colors.
It cannot be discussed, because there is a vocation, a direction. There is no higher or better song than another; But there is a diversity of vocal techniques, a diversity of musical traditions and it is thanks to these aspects that musical wealth is built.
I give you an example. Think of a garden and a small in particular ... the rose ... in your opinion the most beautiful of the world. Now, imagine that in your garden you have planted only cores of roses ... what would you try? Most likely, at a certain point, you would realize that, surrounded only by Roseti, your dedication to this end is losing little by little.
But, on the contrary, imagine your garden completely renewed by the most varied species of fi unc ... Not only roses, but Lillà, Pronus, also grass grass ... what do you feel now?
This garden is a landscape and, in it, every end, grass, tree shows its charm, its beauty, its own characteristic.
What is the face of your garden? And the roses?
What importance does randomness and improvisation carry out in its concerts?
Improvisation is very important, because it gives wealth.
Improvise does not mean, however, to do anything. It is necessary to think in advance.
I make a improvisation plan and sign this in first place; This other in second place and so on.
You have to be free in the discipline, not in anarchy where everything is possible and there is no conception. The improvisation has a theme: give me a theme of the difonic singing and five minutes to produce and I will create a certain work; Give me the same theme and an hour and I will create another job ...
The improvisation on stage lasts on average five minutes and over that time at my disposal I have to create a complete job, that is, consisting of a start, a center and a conclusion.
It is important that there is a conclusion when improvising: otherwise it is as if I made a portrait and drawing a body without legs.
Over five minutes I have to be able to draw a caricature that suggests the idea of a clear image, of a portrait.
But if you have time, make a real portrait and draw for months and months: the result will be amazing. In the performances, everything depends on the time imposed by someone else and the musical rules.
For example, if improvised on the do major, you cannot put a minor agreement, because otherwise you would not respect the rule.
It is therefore necessary to remain in a certain picture. Think of a swimming pool. You can swim how you want, freestyle, back, butterfly, underwater ... but don't leave the swimming pool! The improvisation framework in that case consists of the swimming pool.
How does it relate to classical music, so severe in the rules?
My training is classic. I studied violin for twelve years; I played Paganini in a chamber orchestra.
My training at the Conservatory taught me the discipline to be adopted in my work. Then, to the discipline, I added the spirit: I did not limit myself to copying, but I put the spirit of this discipline in my traditional music studies.
We must be inspired by the spirit of something beautiful to apply in other traditions, excluding the risk of copying only.
The most important aspect is the compatible and incompatible notion. The compatible notion, for example, for the blood group: if you have 0, you will put 0; I have a, I will therefore put a or 0, but I will never be able to put B and so on.
The same attitude occurs for tradition: if you put similar things close to others, you enrich tradition; But if you put incompatible things, you will destroy tradition.
For example, in Vietnamese music we do not have polyphony, but there is melody; We do not have the conception in the vertical sense, but a heterophonic conception.
This means that each tool creates a melody and does not sound exactly the same notes together with the other tools.
Have you ever thought of changing direction? If so, in what period of his life?
Around the seventies I discovered that there were other riches of the voice.
Before I had learned the choral song, the Bel song, the lyrical song, the work of Beijing, the Japanese work; I had jazz, the low voice ...
When I discovered the diphonic song I let everything lost, because in a life you can't do everything. Thanks to the Deponic song I had the opportunity to work on energy production.
In your opinion, can the harmonics be used for curative (music therapy)?
What do you think of music therapy?
Yes, in music therapy and in other therapies, especially to treat people who are shy. People who talk about throat, those who cannot get the voice out.
The item reflects the psychological pro fi le of a person: a very sweet voice that does not come out of the throat is a symptom of a person who has many problems. In this case, you have to work to increase frequencies to have a safe voice: it is a re -education job, a therapy job.
With the pounding singing, I am the A BC de Rodà.
A friend of mine who has collaborated on this project, today is in Montreal, Canada, and continues to use the mouth and harmonics as an artistic expression: nobody sings; A mouth comes out a sound and another receives it.
Have you ever had a moment of despair during its existence? If so, how did you pass it?
Yes, all artists have difficult moments, because you have a blockade, there is no way to go on, you can no longer progress and you always remain at the same point.
There was a moment for me when I didn't want to continue and I wanted to let everything go.
Gradually I returned to make concerts, because before being a researcher, I had been a professional musician and in thirty -seven years I had given at least three thousand concerts.
On the scene I play fifteen instruments as a professional musician and I am composer of music and electroacoustic music. I filed a six hundred songs.
What do you think of Demetrio Stratos ?
He had learned from me in 1977 in France. He came to me with an impresario who told me that Maestro Demetrio Stratos wanted to learn my singing techniques.
He stayed with me for two hours and learned everything.
After that, returning to Italy, he used the exercises learned for his personal research.
Thanks Master for granting us his time before his concert.
I hope one day to be able to meet her and maybe sing together.
After a few years Trần Quang Hải and I found ourselves in a place like Alberone of Cento where we finally sang together, and from that moment our friendship lived until the last day of his earthly life, dated on December 28, 2021.
Thanks Master for What you have transmitted and taught me, thanks for everything you left to us with your great simplicity and desire to share.
Listen to the interview audio clips with Trần Quang Hải
Read also the article: the consonants in singing: creative research tool
