Michael Trimble Vocal Method "Appoggio: Leaning the Breath"
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- čas přidán 13. 11. 2016
- trimblevocalinstitute.com
Fundamentals of Great Vocal Technique:
The Teachings of Michael Trimble
Internationally renowned Tenor and Master Voice Teacher, Michael Trimble. 59 years of expertise/performing, teaching and Artist training/acclaimed vocal pedagogue. Career building, vocal literature for aspiring students and experienced professionals. - Hudba
I’ve been training my voice for five years. Throughout my journey, there have been several ‘Aha!’ moments that have propelled my singing ability to the next level. Acquiring the knowledge contained in this short video might have been the biggest moment for me yet! This is GOLD guys. Any singing teacher who who does not understand this concept should not have the audacity to teach anyone singing. This is so key. Thank you!
"Appaggio" changes everything once you understand it.
@@jefolson6989 How would you describe it? I think I don't understand it yet
@@carlosv5406i guess its once you take the breath from the hips, you use your chest to hold the air back while singing
I don’t think you realize how many singers you’ve helped! I’ve been studying for years, went to college, different voice teachers. But I always felt like I would do what they asked and it wasn’t working for me! God bless your kind soul for the correct knowledge.
If you know how to sing, you will know how valuable the first 3 minutes of his words is! Amazing man!
Wow, fabulous! Pavarotti himself said how grateful he was that Sutherland, with whom he toured extensively early in his career, taught him how to breathe. And look at the result! Two of the greatest voices ever.
I’m a new subscriber. Every word hereis true. I always tell my students that “support” is a mistranslation of appogio which means lean (which implies lean down). As a Caesari pupil I too tell students there is no passage, or cover (which term I’ve never understood not having been taught it). My own teachers were in the line of Garcia II and Cotogni and after a horrific accident I am left with one functioning vocal fold so to try to sing again I applied the method I was taught and miracle of miracles, at 66 years of age I have well over two and a half octaves for public use.
It’s important to understand that the vocal folds ONLY PROVIDE THE PITCH, and make a dreadful sound, true beauty of tone is ADDED by the pharynx, the walls (muscle) of which which should be highly flexible and very open both top to bottom and side to side, all connected down to the lowest area of the thorax. Yessiree, tonal beauty is added by a properly functioning pharynx. Great and truthful video.
I'm a new singer, this man is the best teacher on internet i've heard by so far.. it directly means something...
Do you have skype course sir??
Pure gold, this opened up the floodgates. Thank you is not enough. You are a living library.
Thank you!!! I finally understand! Teachers have instructed me to lift and support which has caused me trouble with breathing too high and eventually pushing my voice and I lost so much confidence in my singing which I loved to do. Thank you ever so much!!
Dear Michael, I have been trying to find the basic mechanics of singing for a long time, so long I've been frustrated sometimes. I've found your videos very, very helpful. I have noticed an immediate change in my voice that feels promising. Thank you very much.
Just bought his book yesterday and here I am. It's very interesting because everything I've been taught in the past is the complete opposite of appoggio technique. Good book by the way!
I have to say these are the best explanations of singing ive ever heard.
Thank you…the “sigh” gave me more understanding on how to lean!
Wonderful voice by the way❤
Michael really is a genious!!! Such an understanding and so enthusiatic!!!
As a wind instrument player, I started looking at vocal instruction to understand what 'breath support' means. Been over pressuring torso and throat for years. This, along with a couple of your other segments, is a game changer!
This technique affords the power (formerly called 'support') to allow an open airway which in turn affords resonance over the entire range of the saxophone. Very similar to what you describe about the bell... 'hit it and quit it. i.e get out of your own way.
Until now, had been trying to 'press up' with the diagram. No worky (or at least had the same thin tone characteristics you demonstrated). Tried 'squeezing' with the back muscles - led to tension in neck. Bottom line, fill up, lean and let'r rip. Awesome!
Again, awesome. Again reinforcing what my teacher says. Good to know. So many of the concepts you discuss have been lost along the way.
Sir, you are an absolute jewel. Thank you, thank you so much!
Thanks very much for these videos - you're clearly an excellent teacher and your advice is really invaluable!
Many thanks!
Your explain so clear, so well the breathing method , it helped me a lot. May God Bless you and your good work!
Hi Michael Trimble! Thanks for your great videos. This one in particular was the first video that I watched from you and it certainly won't be the last.
I was looking for this way too long, thank you so so so MUCH!
Amazing! love your personality too - great humour etc - thanks for the video!!!!
Thank you for all, your words are a treasure for those who search
Thank you for speaking the whole my brother. God bless
Thank you Mr. Trimble you are a master.
Спасибо огромное!!! Прекрасный урок!😘
Your a great teacher Sir you make clear your intentions to break myth and demonstrate facts 👍
You are the best singing teacher in the world. Thank youuuuuuu.
Thank you very much, mister Trimble!
Already bought your book, and I cannot wait to have it in hands!
What you are doing is, indeed, historical. Thank you again!
It was very important for me your comment on the "squeezing the lower back". I could not understand you before your comment about it!
Through the squeezing of the lower back, the air will pressure against the front! This area is the point of lean!
So, everybody with any trouble about the "lean" should read Michael's answer to Paul Montesanti commentary!
Amaizing ! Thank You,Sir
Aspettando con zelo, Grazie mille Maestro!
oh my god why haven't I've seen your videos earlier? You are a genius!
Ive been a singer in a rockband for 4 years know and I've been taking classes and I've been doing all these exercises not knowing what for, I've watched youtube videos. everybody´s been telling me do this do that. Then I stumbled on your videos. everything makes sense of course its leaning the breath. I've been thinking wrong for so many years. it´s so logical when you say it but how was it possible that I couldn't figure out all your tips by myself?
Thank you!
I love your videos, Mr Trimble :)
👍👍👍 You are the best teacher !
This is the best explanation I've heard:)
He’s amazing!
You are amazing! And this is amazing video 😁, thank you so much, It helps me a lot!
Finally, someone other than myself and Franco Tennelli who actually knows what "appoggio" actually is. Some many supposed 'teachers" say they know it but when they explain it, don't even come close.
Kevin Richards RPM Vocal Studio What about Joseph Shore explanation?
Kevin Richards RPM Vocal Studio Kevin, I admire both you and Michael, and I’ve picked up several good concepts from you both. However, I think I’m missing the mark on “leaning”. What exactly is it? I could very well be doing it and not even know it. Do you have any words of wisdom? Is it a physical action?
Stone [石のドラム]
It's tragic that there are no good teachers in the world anymore. I mean, you want to study singing and all you get is a cracked voice with no technique at all.
I have been teaching myself all the time. Its like a joke....
Yeah; the real opera is gone
StickThreeNine I found a teacher who teaches real bel canto technique- Jeremy silver. Google "balancing the vocal vectors" on google.
He teaches over skype, and you can hear his students on his CZcams channel
Stone [石のドラム] i listened to some recordings he thought of being bad. He had Corelli in it with Nessun Dorma. I don't see the problem there? Could you explain?
Its also different betwen men and women. And because I'm a woman I have even more issues with the correct technique...
Man, I've been trying to work out efficient breath support for aeons. I have watched countless videos on appoggio, done the exercises and sometimes done it right but always found the advice to be unsustainable and too much to remember in order to sing efficiently at the drop of a hat. The bare basics type advice in this video has done it for me! "Just lean on your breath." Brilliant! Thank you a million!
It may sound like semantics, but it's crucial. Thank you sir.
guru ji , thanks to you when i applied these methods i felt new and my voice used to break at E4 (which made doubt of a baritone) but this time i felt like gliding through registers and then noticed two shifts at E4 and G#4/A4!
also my true color revealed itself when lightened and dropped the weight!
all thanks to you i know my instrument much better now !
massive respect!
NAMASTE!🙏🏽🙏🏽🙏🏽🙏🏽from INDIA!
Brilliant!
I ❤ you man thanks for the teachings
This summer it all up for me
Thank you.
THANK YOU !!
Thanks a lot.
You are very professional and humble person. God bless you!
I will follow your advises and i"ll read your book and also watch all the videos. If i get stuck, i"ll schedule a lesson with you.
I am your #1 fan
Bravo Maestro!!!
Can you do Skype or FaceTime lessons?? Can you email me info at johnwyte@gmail.com ?
I have watched all your videos and they are phenomenal! A video I would love for you to do is teach how to approach high notes with this appagio technique. Thank you maestro
THANK YOU! Thank you so much! No one else gives such clear instruction.
Thanks alot
yoooo...you are literally my SAVIOR
MR. TRIMBLE, YOU ARE AN INSPIRATION TO LISTEN TO!!! I WAS TAUGHT FROM THE OLD ITALIAN SCHOOL ALSO, MY TEACHER IS 90 YEARS OLD NOW, AND NOW YOU HAVE RECONFIRMED EVERYTHING FOR ME. BECAUSE I AM SO MISUNDERSTOOD BY THE TODAY TECHNIQUES, I STARTED TO DOUBT MYSELF. AFTER MY TEACHER RETIRED, I STARTED TO HAVE A DIFFICULT TIME FINDING ANOTHER, I HAVE ONE SESSION WITH THEM THEN I DO NOT RETURN!!! MOST OF THEM ARE VERY DAMAGING TO THE VOICE. FRANKLY I JUST NEED SOMEONE TO LISTEN TO ME, AND HELP ME WITH LEARNING NEW MATERIAL. ANY RECOMMENDATIONS WOULD BE APPRECIATED!!! I AM A SPINTO / COLORATURA SOPRANO. THANK YOU FOR ALL THAT YOU DO!!
Write to Natasa Djikanovic at natasadijano@gmail. com She can help you and has the same kind of voice you do, apparently. She can sing anything and show you how to do it! Good Luck! MT
thanks Mike for your thorough explanation. I have a few more issues that I would appreciate if you would comment on. I am 73 years old and still perform locally in the Philadelphia area as a baritone. The first question relates to the issue of pronunciation. Del Monaco credited Bastianni's sonority and beauty to his exquisite Italian diction. I believe many singers would be better served if instead of singing an aria,that they first concentrate on speaking the Italian words in conversational form but in a very slow and deliberate sense. By doing this you sense with the mind the movement of the tongue and lips. You can discover hitches and interruptions in the resonance that would transfer when in the singing mode. Then when you go into singing mode, you may be surprised at the results. The tongue will move with a sense of freedom, like a well oiled piston and the lips well be freer as well. Do you concur? The second question relates to certain consonants they give me trouble, especially the 't' as in sento. I sometimes crack on the 't" on the note D just before the baritone break. To get around this, I sing sendo instead of sento. I won't crack on the d sound. Why am I cracking? The third question relates to bowed chords. How do you know you have this and is singing scales on the e vowel a way to correct this. Hines,I was told suffered from this condition. The next deals with singing exercises from top down rather than bottom up. My teacher advocates top down to keep the voice from getting over weighted. Do you see the sense to this. Finally,I like to begin my vocalization on the u vowel and then sing the other vowels through the u position. It seems to get me into the head voice and prevents me from spreading especially on the ah vowel. Thanks Mike for your dedication to the vocal art form. Enrico Adriano
thanks Mike, you are a treasure trove of information. I met you years ago with my future wife. You had a studio in North Jersey and you tried to get my future wife to do a sort of yoga pose to relieve tension that you noted in her body. When I was 72 I had two hips replaced in December 2016 and had to do rehab for two months and then I sang Rodrigo in Don Carlo three months later. I will be singing, God willing, in Il Tabarro this October and will take your advice about using the toilet paper to help prevent cracking on the word Sento which occurs in the duet with Giorgetta. I met Hines in his home in North Jersey by introduction with a good friend of mine who worked with Hines at his North Jersey Opera Co.. My friend, who was a fine baritone, and I made lunch for Mr. Hines in his kitchen. He was easy to talk to and we discussed biblical issues. After lunch, he took us into his bedroom where his wife, Lucia, was on a ventilator. It was a touching moment which I will never forget. He was keeping her alive, such love he had for her! . I was honored that he would allow me there with my friend , Emile Fath, who died about ten years later. I thought I would share that with you. I met Louie Qulico when he was in Phila. in the 1990's and was desperate since I was going to sing Rigoletto and sought him for advice. I called him at his hotel suite and took him to lunch and to church and we talked about singing. He recommended snorting as a way to get out of the throat and into the head. I like to use various imagery because it sometimes will automatically create the correct balance of chiaro/scuro. I think the Italian masters used it a lot to get the point across without getting to technical. By the way Schippa has a vocalization recoding that you can find on utube. Is so simple . He employs thirds, fourts and fifths on the ' 'no'. They are very slow and deliberate. Well. I will sign off. P.S. There is a mystery to the voice because it must be recreated that singers often ignore. Ruffo said so.Ciao Enrico
Thank you respected Mr. Trimble. I have explored your Postures for singing and watched all your videos. When I breahe through the back and lift the chest as instructed I feel that when all is connecting my breathing body rides on natural wave like motion. W herein, the abdomen moves toward the spine as the air rises and expands upward, reaches and lifts the sternum and opens the rib cage. This wave of air does not stop there but unrolls my neck and lifts my head so that my gaze extends just above the horizon. Once splendidly rolled out to lean and to release my voice I feel lost. What do I image and feel to make smooth and automatic cycle and prevent crashing the wave form.? Would you please explain appoggioin reverse starting from the end of phonation to the beginning of inhalation.?
Many thanks and buckets of pure O2.:)
Good video.
Appoggiare is like turning on a light switch. Alfredo Kraus demonstrated it's when you engage the sinus flaps.
I accidentally discovered how to sing like this while driving because I naturally leaned forward when I first got in the car because I was cold. It also seemed to expand the ribs in the lower back so I didn't lock my abdomen and strain from the throat when going into the higher registers.
Hello Michael, I tried the tissue paper test and I found it moves when I speak. What should I do now for next exercise? Thanks.
日本人です！英語全然わからんけどわかるようにするぜ！天才になりたいからな！！
hola maestro!
So, first thing, we make a deep inhalation with the mouth's corners pulled back into the lower ribs in for the lower back , then where do we lean the air ? in the lower chest? Could you please make the mechanics in slow motion or do an specific exercise who promotes this kind of appoggio?Thanks in advance!
Michael please do a video about inalare la voce !!!
Please!!
I've noticed by trying this that it is also possible to feel the breath leaning against me from the front.
I read one singer, I forget which one but my guess is that this was someone in Jerome Hines book, who described appoggio, as leaning on a beach ball in the water where the support comes from the water below the breath in the beachball. Would you agree with the illustrative example?
Hey Michael, thanks for this very helpful video. I have some questions. Do I lean the same amount for low notes and high notes? I find that I have to lean more for high notes. Please correct me if this is an incorrect mindset. Also, how can I tell if I am leaning or simply just pushing my voice?
The sighing method works wonders for me :) Thank you so much!! I've had so much vocal fatigue and sore throat. I've been thinking "up and out", so I have squeezed my voice out with tight abs, the sighing feels like doing the opposite, it feels so much more open and relaxed, both my abs and throat :) I do struggle with the airflow though, since I'm so used to squeezing, I loose the air quickly and don't have any pitch control, except for when I sing on a narrow vowel like "oo". Will it naturally adjust itself?
It will not adjust itself without help, and the help can come from exaggerated breath development in capacity, strength, flexibility, and endurance. Start now to swim long distances, learn to play a saxophone, become a dedicated student of Yoga, get a. rowing machine, learn Caruso's 40-step walk (10 steps inhaling into the lower back with the abdomen moving inward;, 10 steps holding the full breath in the lower back while maintaining the abdomen in against the spine; 10 steps exhaling with the abdomen relaxing slowly outward to a completely outward position, and 10 steps maintaining the body empty with the abdomen totally out). Caruso did this for one and one-half hours every day. If you do. this regularly and dedicate your physical exercises to systems that require a lot of deep breathing, like yoga dn swimming and playing a saxophone, it is pretty certain that you will be able to sing very well, indeed! The old rule of the Bel Canto vocal style was "no action in the throat, jaw, or tongue, neither while inhaling or singing." Your throat will resemble.a sleeping throat after a whle if you do the breathing exsercies As George London used to say, "nothing moves unless the breathing moves it". Good luck to you,. Let me know it this helps. All the best, Michael t
Thank you for answering :) I've been working with @newvoicestudiobrilla-pagli6083 for 2,5 years now, the tone of my voice and my pitch are soo much better. Turns out all I needed to do was to relax, which is easier said than done ;) I still have a lot of tension, especially in the jaw, but I've had a lot of progress. Their method is to literally sing like we speak, so its more a matter of "delearning" since the body already knows how to do it. I really appreciate you taking the time to give me a thorough answer though :)@@Tenoretrimble
Thanks a lot for your fast response Maestro!
You are the BEST of all teachers I've ever know!
Qs.
When I take the deep breath, should I inflate my abdomen in or out?
...should I hold the air in my lower back at the same time? then Do the staccati in order to locate the point of leaning?
Should I tense that area (lower chest) when I get the appoggio in the high notes ?...
Sorry for SO MANY QUESTIONS, no teacher in 15 years could explain me well, I only have mediocre results in my singing career.
Thank you again!
Michael Trimble Maestro, thank you for your generosity. All the best to you! Cheers!
Can you explain sighing breath support method?
Mr. Trimble why does the Russian baritone Hvrotosky make a noticeable sound in his breath inhalation? It obviously helps him. I think he employs this to keep the larynx in an anchored position. Is this his great secret and should a serious singer attempt mimicking him. The sounds seems like slow gasping. Did Corelli do this? Please advise, Enrico
I have a question. I’m having trouble leaning and breath stopping at the same time. What do I do? Am I supposed to lean and breath stop at the same time?
Maestro, I come from a mix technique background. My high Cs and Bs sound very heady and soft. Do you have any suggestions? What do you think about the mix/SLS technique? Grazie!
Thank you, Maestro! I do have one more question if you don't mind- what do we do when we are going through the passaggio? My main break is at Bb. Usually when I go through it, the voice would sound more like a fuller falsetto head tone from high B upwards. Do we just do nothing and focus on the breath and maintain the shape of the throat? Grazie!
"the breath for singing must be leaned from the lower back up against the lower chest and kept there evenly and sufficiently at all times." it was in front of me all this time!!!!, that is why sometimes I felt to breath or lean in the lower chest or lean at the back, going back and forth, sometimes one work sometimes the other did work, there is no enough to say to thank you in helping me find the holy grail of singing.
Mr Trimble. Can you PLEASE explain to me how you can “Sigh” aka appogio and maintain a breathe stop. It seems like they contradict each other and I never know what to base my singing technique of off. Anything would help. Thank you!
Stand in front of a wall, begin to lean toward it and continue to lean as the hands catch you against the wall. Remain leaned and that is the Breath-stop if we were exhaling instead of leaning the body. Sigh against the sternum and suddenly stop the exhalation against there. That is the sigh-method. Exhale, direct the breath against the sternum or nave, and stop the breath there while maintaining the gentle pressure of. the breath against the chosen location of the stop. Try it. It works. MT
Hello Michael great videos. My friend referred me to your channel. I am not a singer. I am a public speaker. But my voice gets tired easily, sound high pitched. Do these techniques of "leaning" help me speak with better breath support. What other exercises you recommend for speakers? If you can record few videos for speakers only will attract new audience like me. Thanks in advance.
Thank you very much Michael. Working using the kleenex paper and will update you with the results in a week. My understanding is this "perfectly still tissue" method helps with vocal fatigue. How about, high pitched voice which sounds weak and lack authority and do we need to use "leaning" for breath support while speaking too? OR leaning is for singers as they have to sing longer phrases?
Michael, I see the tissue moving when I do the above exercise. What to do now?
can someone explain what hes talking about? my first time in a voice class and the instructor put this video on... no clue what he meant by his voice was not heard because of the voilins so he has no place there or the bit about feeling the sternal notch when he was singing
Maestro, I;m a bass and when I sing in my low and midle voice, I can maintain that point of appoggio, but when I sing higher, this point goes also higher on chest therefore my throat is tired and voice is heady.... How to maintain this point in one place through whole range?
Michael Trimble Dear Maestro, you can’t believe how happy I am to have found you on CZcams. I am a baritone with nice resonance/ring on my mid to higher register but on my middle Low and Low, it isn’t so solid. My teacher had told me previously that what makes my voice unique is my higher register ring, not so much my chest or lower registers. I have been working on your exercises and breathing and your instruction of leaning against the sternum and every note with breath attaches to that works. I have the lower connection and vertical column inside, and also have the right. However, I also came across your Chakra video and in it you mention that baritone and basses could try leaning the breath from back of the top part of the chest to the abs chakra point that is below the naval point. I find what when I lean against that point and thinking TOP to bottom diagonally, I seem to have a more focused sound if I attached the breath and lean against the chakra point of the ab. However, i feel that this TOP down diagonal approach while has a more focused and connected seems to also suggested it lost some sort of warmth to the tone?
As such I’m not sure which is right, but you seem to advocate the lower back to sternum diagonal lean more over other kinds of leaning. Do you have any advice for ‘high baritone’ where is a better lean chakra point?
Thank you maestro!
Michael I had my throat scoped due to bronchitis and wanted to be sure I was ok for a performance of Il Tabarro , Michele. The chords are nice and white and smooth but I have a slight bowing. The doctor said that at my age, 73, this is not unexpected. Is there an exercise to correct this that you would suggest. By the way I studied with you for several lessons when you were in Montclair, New Jersey. I came with a female friend who had a car. Transportation was the issue. This was about 25 years ago. Enrico.
Mike- thanks for your quick response on bowed vocal chord issue. I discovered that I had a slight bow since I had my throat scoped because of the bronchitis and I wanted to be sure my chords were ok because of an upcoming Il Tabarro performance. First, how does a singer know he/she has the condition and, what are the effects? Does this cause the wobble? Was this Mac Neill's issue? You mentioned this occurs because of chesty singing. Is this more prevalent with baritones and basses. I wondering whether Bastianni and Cappucelli had this condition and would eventually cause vocal decline. You think perhaps Del Monaco had bowed chords with his method.
You mentioned doing staccati on "nee. Could you give me the range of the high and low and the type, considering that i am a baritone. Should I start top down or down up. Also, would warming up with a hum or lip or tongue trills be helpful? Would you consider making a new video and discuss this issue since singers develop this such as Jerome Hines. You could title it : "Vocal Method for fixing Bowed Vocal Chords' and mention that a former pupil asked about the condition and how to fix the problem. If you would do , please let me know so I can view it .
As far as the 'Sento' which is the word Michele sings to Giorgetta in their duet; 'Sento sulle mie spalle le vostre teste bionde... I had no problem with the phrase at my rehearsal Sunday. The line starts on a D above middle C. I was watching Cappucelli on utube from a La Scala production. He has a deep low larynx position. This helped me visualize what to do and I did not crack. Very deep in the throat . Also, when he sings 'La' it sounds like Law. This, I assume helps him with the high G at the end of the aria Nulla Silenzio when he sings:
'La pace e nella morte'.( Note there are two la's).
There is a utube of Corelli doing a vocalize. He sings Ma like Maw and he goes up to high C. Seems like this keeps the larynx in that low anchored position.
By the way, when I saw you in Montclair, N.J. with my female singer friend Nancy, you had her stand on one foot like she was in a yoga position. She reminded me of this. Perhaps, it was to help her get rid of tension in her body. Any way, I have several more rehearsals before the performance on Oct. 15. Hope to hear from you again. Enrico
when I lean/sigh, my voice gathers in my nasal cavity, anyone have tips on how I can shoot that lean into the "true mask"?
thanks!
Oppie raise the soft palette slightly, not too raised to the point you feel rigid
Hi Maestro Trimble,
First of all, just let me say that I really appreciate all these videos.
I have a question about appoggio. Is the "lean" of the breath itself enough to achieve an appoggio without muscular action from the surrounding area? For instance, is this the lean of Schipa? Or is Schipa's lean achieved with just a slight use of the musculature?
Thank you!!
Enrico AdrianoMike I last sent you a note last year before I sang Michele in Tabarro and want to thank-you for your advice on certain phrases. I just turned 75 last month. I have been listening to Leo Nucci who still sings well in his mid 70's. I notice that he has a definite tendency to do a sort of portamento in his vocal line, sort of mini crescendos. Is this really what he does. He never sings straight vocal lines but with an arch. Is this his secret to vocal longevity. Hope to hear from you.
Thanks, Mike. I bought your book Fundamentals of Great Vocal Technique and am studying it with due diligence. It is a treasure trove. One other point.I believe that as a singer gets older, especially baritones they tend to push or use too much muscle and as a result they lose range and color. I have been listening to Battistini and Strachiari and emulating them on Tosti songs (Ideale) and on the aria from I Purtritani entitled Ah per sempre io ti perdei. I noticed that as I sing along with these singers, I feel a slenderness and suppleness in my voice. The voice is more lyric and legato. I feel more like a tenor and have more ping. It seems that the ear can have an amazing effect at times that seems to prevent constriction in the throat. I find this to be amazing. Haven't we all tried to emulate those we admire. I am doing this emulating so I can hopefully sing at 75 the aria Il balen del suo sorriso from Trovatore with greater ease. I have shied away from this particular aria all my life because of the tesittura.Enrico
Is there a university or conservatory that teach appoggio and old Bel Canto technique?
@@Tenoretrimble
Thank you very much for your advices.
And besides what you said, how much musical information must an opera singer have ? Theory, listening skills and etc.
And what exercises do you offer to gain these skills?
parlando della tecnica e i stili diversi d'interpretazione nel mondo della lirica .
per tutti noi stranieri c'è una regola , prima di cantare un certo repertorio o di studiare il canto lirico dobbiamo imparare il meglio possibile la lingua italiana visto, che un giorno canteremo il repertorio italiano ...
maestri di canto, potete insegnare ai giovani cantanti la tecnica e spiegarli i stili diversi, ma quando voi ragazzi non avete studiato la lingua italiana come sperate di insegnare ai vostri allievi come interpretare il repertorio italiano bene?!
solo con la tecnica ?!
in ogni stile di canto il giovane cantante deve mettere la sua anima e cuore in servizio del compositore.
come spiegare ai giovani che il reprtorio di Mussorgsky si deve interpretare in russo, il repertorio di Wagner in tedesco,
il repertorio di VERDI in italiano etc.etc.etc... ?!?!
questa e' la bese del nostro mestiere .
il maestro deve insegnare ai suoi allievi non soltanto la tecnica ma la pronuncia e il modo di porgere ''alla russa'' ,
''all'italiana'' etc.etc.etc. ...
il canto lirico non e' solo di avere LA VOCE e di conoscere LA TECNICA .
il canto lirico e' un mestiere molto complesso e quelli che cercano la perfezione tecnica non devono dimenticare mai
di spiegare ai loro allievi la neccessità di studiare le lingue .
come si può cantare un certo reprtorio senza conoscere la base della lingua , non lo so .
cordialità
il vecchio
P.S.
la meravigliosa voce di Signor Trimble e' una bellissima sorpresa per me .
i tempi hanno cambiano, non siamo più /purtroppo/ nel 1956 ...
N.
What does leaning do?
ong
2:08
2:31
I still don't get it. Does he mean physically lean forward? What does 'lean into it' mean?
I hope he's ok...doesn't he reside in Italy?
Washington State
Dear Mr. Michael, i love you! Thank you for everyting... i wanted to ask you if there is any way i could get your e-mail... it would be my great honor if i could get your opinion on my singing... Thank you.
Hi Mr Michael, i have just sent an email to you. Thanks!
you mean you must lean every breath you take or once deep lean and holding it while singing and inhaling again?(still holding first lean). confused, because i cant lean every single breath and sound is not powerfull. Leaning is not a fast process. But only one strong, powerful lean and holding that position is gives me very good big voice as long as im holding it. and taking upcoming breaths normally. still holding it is really difficult tho.
Hello Michael how is it going I have a question for you.have you ever heard of Angelo loforesse? If not check him out there is a whole video where he speaks about his technique, i would like to know what are your thoughts about him and his technique.
I just looked him up thanks to your comment. His thoughts about "thinking" falsetto (while not actually singing that way), focussing on getting 'lighter and tenderer' as he adcenda to high C while he demonstrates leaning not pushing were really invaluable to this heavy singer. They were also good illustrations if what Michael teaches. Thanks for mentioning him!
Ok so what do we actually DO?? I can only sing for an hour before I get sore. How will I ever get gigs, they last 3-4 hours.. OK can you help me? What to actually DO?? What do you mean by LEAN? You men sort of bend over? I never see singers bending over the whole time when they are singing.. This is confusing.. I just want to be able to sing well. I dont get it.
Caruso 'told' you how to breathe? Caruso died in 1921. What are you talking about?
I think I was trying to refer to his book, where he "told us" how to breathe. I'm glad you caught my error. I'll watch the video and see if I can find the mistake. Do you know where it is in terms of the clock? If you do, please let me know. i would appreciate it. Believe me, I did know when Caruso died when I wrote the book. There were 12 editors examining for errors. It seems they. missed one. Next time, I'll see if I can hire you to edit!! Thanks again for pointing this out. Check the book and see what you think. All the best, Michael T
Thank you.
Mike, not too sure you know of these guys, but I sing the songs of Rock bands like Foreigner, Loverboy, Kansas, The Guess Who, and others, guys who have some pretty powerful near operatic voices. Full, deep, inhales (without overtanking, Appoggio) has been the way to get to the quality of tone these singers are known for.
Yes, travelers on a never ending journey to a better and better voice.