I would like to thank you Maestro for doing this for us. It is very noble act that, as a high quality professional(that's very scarce today) that you are answering to our often not interesting and monotonous questions and making videos for us, especially for free when i imagine that this kind of consultation is quite expensive. This again underlines such a great artist and wonderful human being you are. I thank you for everything and i believe a lot of people share the sentiment. thank you!
Maestro Tenelli, thank you for this great video :) I was singing with difficulty using placement only for 4 years until I found a teacher who uses appoggio technique. Now as a lyric baritone I can sing with single register all the way until F# and G is not far away - before I was having to modify vowels from B onwards!
Nice analogy with the bicycle. I use a water faucet analogy as a means to get beginner students to understand how to keep the airflow consistently moving. Your diaphragm is not unlike the valve inside a faucet. Picture the water stream as your airflow. The pressure that keeps the water moving up through the pipe is created by your core muscles and you control flow with your diaphragm like a valve. But I like the bicycle one too.
Wow, this was extremely helpful Mr. Tenelli, it served to reassure me that I was definitely understanding Appoggio. It is a very physical act, even tiring at times.
LOWERING THE DIAPHRAGM WHILE INHALING IS A NECESSITY FOR SINGERS AND SPEAKERS. ONE CAN USE THE DIAPHRAGM FOR SUPPORT IN MANY DIFFERENT WAYS IN CONJUNCTION WITH OTHER PARTS OF THE BODY. FOR EXAMPLE TIGHTENING THE BUTTOCKS , PULLING IN THE ABDOMINAL MUSCLES, STICKING OUT THE CHEST WHILE LOWERING AND SLIGHTLY MOVING THE UPPER BODY DOWN. DEL MONACO STYLE FOR HIGH EXTENDED NOTES. MUSCLES GET TIRED. IT IS GOOD FOR PROFESSIONAL SINGERS AND SPEAKERS TO DEVELOP FLEXIBLE ALTERNATIVE SUPPORT METHODS FOR RELIABLE , COMFORTABLE PERFORMING. IAN KAYE
Of course there are a couple of ways of creating an "exhaling" force upon the lungs, as perfectly said by Tenelli (see video below), but the easiest, natural one is letting the abdominal muscles autonomously "do their job", like when you are breathing normally. On the other hand, all the maneuvers you pointed out - strangely you forgot "smashing the rib cage" - require conscious command. In fact, you can use them to produce higher (pitch), longer, and, especially, stronger sounds. But none of them can, in order to produce them, compare to forcing down your abs and simultaneously try "to push back your navel till it touches the spine". czcams.com/video/0MTesf3SMp0/video.html
Many many thanks Mr.Tenelli. It is definitely the best explanation-analogy of Appoggio with simple wise words .We can't wait for your next video , about Appoggio Technique.I feel like a blind man , who want to see...Unfortunately , many few teachers know about Appoggio and many fewer know how to teach it .
Vibrato is a result of chord closure and correct breath support. Appoggio will enable vibrato to occur naturally, there's not really much else to say. Tenelli has some videos on the subject which are very good, they're on his page.
good singing requires good technique no matter... but in choir all you need to do is to be on pitch and in balance with other voices It's impossible develop an appoggio technique where your voice is blended with others
yes, i've seen almost all of his videos. what i'm interested in is vibrato without ''appoggio'' technique. if folk/pop/croon singers don't use appoggio, and many classical singers don't either, then there must be other mechanics at work. franco himself sings jazz etc apparently without classical breathing technique and still manages a vibrato. i'd be curious what he does in those circumstances.
Vibrato isn't (entirely) dependent on support. If your vocal chords are closing correctly and fully, you have vibrato. What makes them close is not singing with too much pressure, aka forcing. Support comes into play when you need resonance and freedom. The only way to sing without a microphone for 2 octaves or more requires a good steady support. Some singers deny that they use appoggio (or simply don't understand that they do), but in 99% of the case (of good opera singers) they do.
Thanks for this. I would like to learn so much more about how to sing the best way. Right now I can sing for one hour before I get sore and must stop. I am like most musicians, way too broke to take any lessons. The great musical paradox!
low abs are important to create a langue air compression and they are first to master. As chiaro-scuro sound is concerned it's range naturally develops slower then in placement techniques but much more beautiful and save in comparison.
Сравнение с тормозами автомобиля очень хорошо. Мне кажется, что модно далее сказать так, что правильная опора - апподжио - есть езда сразу на газу и тормозе, когда автомобиль одновременно и толкается вперёд двигатели и одновременно притормаживается тормозами. Кстати гонщики применяют такие способы.
thanks for the video. would you ever consider doing one about vibrato and its issues? this is a nebulous area, but most things are with vocals i suppose.
Господин Тенелли, спасибо за ваш своеобразный вклад в наше понимание о вокале!скажите заниматься упражнениями appogio можно только со звуком или можно без?и какие эффективные упражнения?
hello Mr. MaestroTenelli .I have some question..is in singing at choir also need to use the technique appoggio or we just use chest/head technique and certainly with good breath support ? and what the different if we sing with light or dark voice timbre ? is that all affected by using appogio technique?
What do you mean by first to master? I dont fully understand what should be the action of low abs( and it does not work for me naturally, unfortunately). What is that one does with low abs? should i contract those muscles, should i push upwards to provide air and when should i engage them, upon inhalation or just during singing and what does low abs involve, transversus abdominis, obliques, pelvic floor? please Maestro, explain functioning process of low abs in more details. thank you.
Maestro, You assumed that lower abdominal support is there almost subconsciously, do you mean that in case of professional opera singers or do you mean anyone who sings? because in my case i found out that my lower abdominal were almost passive and it made impossible to establish proper support, cause as you mentioned, support takes two forces working together, low abdominals which provide air support for larynx and open ribs and high sternum that put control over it.
Do you know armonic singing technique? It is used in meditation and eastern medicine, for healing with vibration. Do you find it useful for finding resonances and "metal"? Thank you always
спасибо,я правильно думаю:чем выше регистр, тем с большим усилием нужно как-бы "оседать" на диафрагму,или её нужно удерживать в одном положении?и как избежать зажима в диафрагме или в животе во время воспроизведения верхних нот диапазона?ведь это очень важно
thank you very much. Please contact me with a schedule of your private lessons. I'd like to consider if you would work with me via Skype. I really appreciate your videos, and the editing. Einstein said that if you can't explain it simply, then you don't understand it well enough. You helped me understand it simply. Now if we can just keep me from gasping into the microphone, I'll be golden! :D
Можно отдельно тренировать и диафрагму(дыхание иоги) и мышцы живота но это все равно что дать художнику кисть и воду вместо красок и сказать тренируйся. Я стою больше на том что учиться рисованию(пению) без наличии красок, натуры малоеффективно если не совсем бесполезно. Лучше практиковать вокал целиком делая акценты на разные элементы пения
быстрый расход дыхания это не правильноя опора звука и вызвана как неполным смыканием связок так и не умением петь легато(т.е. расход происходит при связке согласных и гласных). 1ое более опасно т.к. дыхание неверно в корне, второе проявляется при пении со словами(надо учистя петь легато)
Сет Ригс украл идею у классического баритона Пандиско у которого он учился он также научился "Киаро-Скуро" у других оперных певцов как Тито Скипа и другие. Как метод считаю его весма ограниченным и применимым только к тем у кого разговорный голос весьма резонансный.
I would like to thank you Maestro for doing this for us. It is very noble act that, as a high quality professional(that's very scarce today) that you are answering to our often not interesting and monotonous questions and making videos for us, especially for free when i imagine that this kind of consultation is quite expensive. This again underlines such a great artist and wonderful human being you are. I thank you for everything and i believe a lot of people share the sentiment. thank you!
Maestro Tenelli, thank you for this great video :) I was singing with difficulty using placement only for 4 years until I found a teacher who uses appoggio technique. Now as a lyric baritone I can sing with single register all the way until F# and G is not far away - before I was having to modify vowels from B onwards!
Nice analogy with the bicycle. I use a water faucet analogy as a means to get beginner students to understand how to keep the airflow consistently moving. Your diaphragm is not unlike the valve inside a faucet. Picture the water stream as your airflow. The pressure that keeps the water moving up through the pipe is created by your core muscles and you control flow with your diaphragm like a valve. But I like the bicycle one too.
Wow, this was extremely helpful Mr. Tenelli, it served to reassure me that I was definitely understanding Appoggio. It is a very physical act, even tiring at times.
Wow 100 Videos!! Congratulations and Thank you for all your hard work and passion Maestro Tenelli!!!
Thank you Franco! Very precise video!
So good, maestro, You are an angel.
You are totally correct. Thanks for making this. It helped me in my Belcanto a lot.
LOWERING THE DIAPHRAGM WHILE INHALING IS A NECESSITY FOR SINGERS AND SPEAKERS. ONE CAN USE THE DIAPHRAGM FOR SUPPORT IN MANY DIFFERENT WAYS IN CONJUNCTION WITH OTHER PARTS OF THE BODY. FOR EXAMPLE TIGHTENING THE BUTTOCKS , PULLING IN THE ABDOMINAL MUSCLES, STICKING OUT THE CHEST WHILE LOWERING AND SLIGHTLY MOVING THE UPPER BODY DOWN. DEL MONACO STYLE FOR HIGH EXTENDED NOTES. MUSCLES GET TIRED. IT IS GOOD FOR PROFESSIONAL SINGERS AND SPEAKERS TO DEVELOP FLEXIBLE ALTERNATIVE SUPPORT METHODS FOR RELIABLE , COMFORTABLE PERFORMING.
IAN KAYE
Of course there are a couple of ways of creating an "exhaling" force upon the lungs, as perfectly said by Tenelli (see video below), but the easiest, natural one is letting the abdominal muscles autonomously "do their job", like when you are breathing normally. On the other hand, all the maneuvers you pointed out - strangely you forgot "smashing the rib cage" - require conscious command. In fact, you can use them to produce higher (pitch), longer, and, especially, stronger sounds. But none of them can, in order to produce them, compare to forcing down your abs and simultaneously try "to push back your navel till it touches the spine".
czcams.com/video/0MTesf3SMp0/video.html
Wow what a fantastic video! One of the last Real teachers of the Bel Canto school :)
Many many thanks Mr.Tenelli. It is definitely the best explanation-analogy of Appoggio with simple wise words .We can't wait for your next video , about Appoggio Technique.I feel like a blind man , who want to see...Unfortunately , many few teachers know about Appoggio and many fewer know how to teach it .
Vibrato is a result of chord closure and correct breath support. Appoggio will enable vibrato to occur naturally, there's not really much else to say. Tenelli has some videos on the subject which are very good, they're on his page.
thank you for the video. it was really didactic and helpful.
GREAT VIDEO!
good singing requires good technique no matter...
but in choir all you need to do is to be on pitch and in balance with other voices
It's impossible develop an appoggio technique where your voice is blended with others
yes, i've seen almost all of his videos. what i'm interested in is vibrato without ''appoggio'' technique. if folk/pop/croon singers don't use appoggio, and many classical singers don't either, then there must be other mechanics at work. franco himself sings jazz etc apparently without classical breathing technique and still manages a vibrato. i'd be curious what he does in those circumstances.
We know we owe him so much.
Vibrato isn't (entirely) dependent on support.
If your vocal chords are closing correctly and fully, you have vibrato. What makes them close is not singing with too much pressure, aka forcing.
Support comes into play when you need resonance and freedom. The only way to sing without a microphone for 2 octaves or more requires a good steady support. Some singers deny that they use appoggio (or simply don't understand that they do), but in 99% of the case (of good opera singers) they do.
Thanks for this. I would like to learn so much more about how to sing the best way. Right now I can sing for one hour before I get sore and must stop. I am like most musicians, way too broke to take any lessons. The great musical paradox!
low abs are important to create a langue air compression and they are first to master. As chiaro-scuro sound is concerned it's range naturally develops slower then in placement techniques but much more beautiful and save in comparison.
Сравнение с тормозами автомобиля очень хорошо. Мне кажется, что модно далее сказать так, что правильная опора - апподжио - есть езда сразу на газу и тормозе, когда автомобиль одновременно и толкается вперёд двигатели и одновременно притормаживается тормозами. Кстати гонщики применяют такие способы.
thanks for the video. would you ever consider doing one about vibrato and its issues? this is a nebulous area, but most things are with vocals i suppose.
Господин Тенелли, спасибо за ваш своеобразный вклад в наше понимание о вокале!скажите заниматься упражнениями appogio можно только со звуком или можно без?и какие эффективные упражнения?
Good for you:)
So you lean on the diaphragm and pressure it down as it comes up when you exhale/sing to control the flow of air.
Thank you. For once, someone explained to me the meaning of support!
hello Mr. MaestroTenelli .I have some question..is in singing at choir also need to use the technique appoggio or we just use chest/head technique and certainly with good breath support ? and what the different if we sing with light or dark voice timbre ? is that all affected by using appogio technique?
wish this man was my teacher
What do you mean by first to master? I dont fully understand what should be the action of low abs( and it does not work for me naturally, unfortunately). What is that one does with low abs? should i contract those muscles, should i push upwards to provide air and when should i engage them, upon inhalation or just during singing and what does low abs involve, transversus abdominis, obliques, pelvic floor? please Maestro, explain functioning process of low abs in more details. thank you.
Maestro, You assumed that lower abdominal support is there almost subconsciously, do you mean that in case of professional opera singers or do you mean anyone who sings? because in my case i found out that my lower abdominal were almost passive and it made impossible to establish proper support, cause as you mentioned, support takes two forces working together, low abdominals which provide air support for larynx and open ribs and high sternum that put control over it.
Do you know armonic singing technique? It is used in meditation and eastern medicine, for healing with vibration. Do you find it useful for finding resonances and "metal"? Thank you always
спасибо,я правильно думаю:чем выше регистр, тем с большим усилием нужно как-бы "оседать" на диафрагму,или её нужно удерживать в одном положении?и как избежать зажима в диафрагме или в животе во время воспроизведения верхних нот диапазона?ведь это очень важно
Маэстро,легато тренируется вокализами?а при пении я слежу за тем чтобы диафрагма опускалась вниз,это верно?
Спасибо за внимание,ещё скажите пожалуйста:когда я пою у меня быстро расходуется дыхание,что с этим делать?
Franco hello, where I can find you for study opera whit you because my teacher break my voice everyday
Зажим диафрагмы можно избежать постепенной ее тренировкой, сразу апподжио не работает
thank you very much. Please contact me with a schedule of your private lessons. I'd like to consider if you would work with me via Skype. I really appreciate your videos, and the editing. Einstein said that if you can't explain it simply, then you don't understand it well enough. You helped me understand it simply. Now if we can just keep me from gasping into the microphone, I'll be golden! :D
Можно отдельно тренировать и диафрагму(дыхание иоги) и мышцы живота но это все равно что дать художнику кисть и воду вместо красок и сказать тренируйся. Я стою больше на том что учиться рисованию(пению) без наличии красок, натуры малоеффективно если не совсем бесполезно. Лучше практиковать вокал целиком делая акценты на разные элементы пения
быстрый расход дыхания это не правильноя опора звука и вызвана как неполным смыканием связок так и не умением петь легато(т.е. расход происходит при связке согласных и гласных). 1ое более опасно т.к. дыхание неверно в корне, второе проявляется при пении со словами(надо учистя петь легато)
sure, all my new students yawn at the begining. If you do it more regularly you won't be yawning, just placing larinx lower.
Сет Ригс украл идею у классического баритона Пандиско у которого он учился он также научился "Киаро-Скуро" у других оперных певцов как Тито Скипа и другие. Как метод считаю его весма ограниченным и применимым только к тем у кого разговорный голос весьма резонансный.
it's too much analogy