Trying to explain Melocchi’s method of voice production can be the easiest of tasks or an impossible ordeal.

The power of simplicity should be our pedagogical ally until it is time to engage in scientific theories and nomenclature if necessary. The goal is to provide the student with the necessary tools to be absolutely independent and autonomous when performing.

In a nut shell, the method consists in finding the “primal sound” (primitive) and develop it so we can later on apply to whatever the repertoire the artist performs.

Shaping the “primal sound” consists in the emission of “open sounds” and “covered sounds”. This is consistent with the Italian tradition of “chiaroscuro” and “aperto ma coperto” that renowned Maestros such as Cotogni, Lamperti, García, Rossetti etc… taught back in the day, schooling voices such as the ones from Volpi, Gigli, Malibrán, Schippa and a vey large etc…

The advantages of the method are countless. It develops the voice to its full potential,elongates the vocal track and opens every available resonating cavity for the voice to be amplified, especially the pharynx.

There’s an anecdote about Rossini that basically recalls that when asked what did a singer need in order to be successful , his answer was simply: Three things: VOCE, VOCE, VOCE 

Regarding the “eternal” question of ”apoggio” Melocchi’s aproach is quite simple and logical. The voice is born in the throat and then is sent downwards towards the diaphragm. That way the subglotal pressure is constant and thus the voice is constantly supported at all times.