You are amazing. For the first time I understood the meaning of inhaling the voice. You are so smart and funny and.... 80? I can’t believe!!! Truly amazing.
Would you advise to sing with the head up (exageratly so) to get used to not using the throat? Among other things I noticed that whenever I try to sing, my throat just engages.
Bravo maestro, thank you for your videos and your determination in teaching correct, healthy, historical technique. I am working with a teacher now near Wiesbaden who teaches precisely what you are teaching and explaining (his teacher lives directly in Wiesbaden, and she was a colleague of Fritz Wunderlich, studied with the same teacher as him). Your videos are wonderful supplements to my instruction! Thank you.
Looking for tips on classical singing I stumbled upon Your channel Sir and I'm so thankful that I did! I've been looking all over and found all kinds of information, all different, some contradicting and all did the same: Leaving me confused and with a tense throat... . Watching Your videos, especially this one, and trying out what You say has helped me so much! Now, I'm a young baritone from germany, just getting into opera training after I just recently found that opera is what I ultimately want to do with my life. But training doesn't come cheap so I try to get what I can online until I can finally, hopefully soon, find a teacher. I've always wondered how this beautiful sound is produced and You made so many things clear to me. I was lacking volume in my heights, it would make my voice crack, my throat so tight it hurt and made me worry I was ruining my voice horrifically. And I'm so very proud of my baritone. Now I have something to train towards, I see what I did wrong thanks to You, I can work on that, train that carefully and won't embarrass myself too much in my first lesson, hopefully ^^ Thank You so much for this golden information!
Dear Mr Trimble, Thank You for all your videos. You are the best and I let myself to call You "My Voice Teacher". I study Your every word. I wish I lived in America and to be your student.I am opera singer, lyric soprano,I am singing quite well but still not perfect as I wished. I have many questions and this is not possible to write everything. But I would like to ask You about open throat, low laryngx.I cannot feel low laryngx position. I do this motion with breath and when I start singing laryngx goes up.How can I change it. When You show us, Your throat is open when You sing low and high. Another question is: You speak about many singers but never about my favorite soprano John Sutherland. I would like to know her secret method of breathing, appoggio. Pavarotti talked about it, that she taught him. Could I send You my recordings that You listen me and mayby could You adwise something, Very kind regards. Agnes
Dear Mr Trimble, Thank You very much for Your answer,it is an honor for me ! At first : “Down bowing” means like You take a bow after concert? And She bow during singing to maintain legato? Next: I should sing where I feel the "pulse" against my sternum ?It must be only imagination ,yes? (because phisically this is impossible).So I made mistake thinking of the larynx that should be low, mayby to low.. I sing 18 years, I am 36 years old. I am soprano. I write You more on private email and of course I would like to work with You on skype! Kind regards Agnieszka
not sure what i learned from you is correct understanding since im not a pro singer but i think i get the gist of it. i just dont know if i do it right. also you're funny 😂i especially love how you dispelled the cone tongue thing which i saw a lot in some singers (they sound good tho so im not sure) i know that unnatural expressions and shape are generally not needed in singing at all. Thank you so much!
Micheal could u make a video on how to long term develop voice , what exercises to use and what principals to follow while executing those exercises or how you do that with your students?
You are amazing! Do you have some video about how to extend you vocal range? Because right now my vocal range is from E2 To F#4. But when I get to E4 and beyond without falsetto(which is my goal), my voice sounds weak (and sometimes I get there sometimes not) so I am kind of new in singing and I really want to extend my chest/head voice further and improve the notes from C4 to F#4 so that they will sound better and stronger Hoping for your help
love to have a drink with you one day Michael, a really interesting character,who has lived a life, and your school for that life has been the voice good luck to you.
Thanks Michael Seems to be in great shape!! For me i can last longer, less air , can you do it just at the high tones ? To me its like covering the tone Peter Lundgren
So if I follow you correctly: Thinking of the word "Stai" while using this technique will help a singer follow along the lines of the Italian school, rather than the German school of breathing? I tried this today and it made my voice much larger than what it usually is. My teacher at school thinks I may be developing into a Leggiero Tenor, but I couldnt figure out how to have more phonation until today. Thank you for your wise teachings, Mr. Trimble!
Salut, John. Write to tvi@biwifi.com and request information about lessons. Dr. Pamela's staff will send you the information you need to get on the schedule with me. All the best to you, Michael t
You are WONDERFUL! I am classified as a dramatic coloratura, graduating with a master’s in Vocal Performance (29yrs. old). I was told that I am leaking air. I need help. Would it be possible to arrange a coaching? Is there a website that I can visit to schedule?
My current teachers sang a tremendous amount of Wagner (among other big music), at all the big houses. They were trained by Evelyn Dahlberg and her father Frederich Dahlberg. The basic tenets of what they teach is, a small mouth, inhalare la voce, a completely relaxed throat with no muscle action, no lateral breathing, only breathing into the front and back, a deep deep placement of the voice (sternal notch or lower), but keep vowels bright and speech-like. I was trained in more of a Appoggio method, and I'm finding that while I really like how it feels to Inhalare la voce, it feels like I'm not "supporting" or "leaning" the voice anymore. Is it ok to give up these Appoggio sensations if the phonation is still good, and the chords don't spread? Just feels like I've lost my engine a bit. Also I'm finding that my instinct is to breath laterally (into the flanks, or spread the bottom ribs), instead of into the back. It's been difficult working to break that habit. Any advice?
Is there any way I could email you and possibly get some feedback on really short voice clips? And potentially discuss lessons? My voice just seems stuck in a position where it's too small to be an operatic voice, even when I sing with good support, lower larynx and squillo etc.
Michael Trimble thank you Maestro Trimble. Can you share with me your email address? With a bit more rethinking I think you're right. I seem to be forcing a spinto sound when I'm more a lighter tenor I think closer to Schipa
Michael Trimble oh my lord, I purchased your book and I'm only 30 pages in and already feel my voice is 50% larger but the physical effort reduced 100%. Your book is an absolute treasure of unspeakable value! I don't even feel I have to exert much effort at all to stabilize the support, I just breathe into my back and release like a crying baby and boom, a huge ringing voice with natural vibrato. Amazing
Hi MikeWell be singing Scarpia in Tosca. In rehearsals right now. Have at times problems with 'Mia' on the F sharp. The first Mia is an e flat then the word is repeated on f sharp. This is at the end of Scarpia's aria. Had the same issue in Il tabarro which I sang in October that I finally fixed. I saw a production with Cappucelli on utube and he was having trouble with the e vowel. What is the issue on the e vowel? Tucker's e vowel was fabulous. Could the throat be too dry or too much back pressure. I have to drive 2 and half hours in a heated car and then sing about an hour later. Very gun shy right now. Performance will be in March. Any suggestions. Enrico (73 and half year old baritone).
Mike. I will try your idea tomorrow. Will do the Corelli nose pinch and the B position. Getting into the true mask seems a challenge on the e vowel. What I was consciously doing was to try feel the M reasonating on the lips before going to the ia. Will let you know how it goes. Will do half notes going from middle C to HIGH G.Rick
Mike- I located your video on November 15, 2016 on the true mask. Will study this since I think half the sound on the Mia goes into the nose and the other in the lower part of true mask. If this is true this may explain my problem with cracking. Rick
Will inhalare la voce eventually lead us to open up our pharyngeal muscle and therefore create pharyngeal sound that is used to project our voice? I recalled that you had a video about pharyngeal sound for the projection of the sound. I think inhalare la voce is great mental image to approach toward pharyngeal sound.
Michael Trimble Thanks for the reply. One more thing is it seems that I can't accept myself with the fact that I am just a bass-baritone who can't sing high. If I want to sing high, I realize that I have to squeeze my lower back excessively to create right pressure for the desired high notes but it doesn't sound as beautiful as my lower notes. I have no idea if my support is on right track but I do know that singing requires the lower back to squeeze like bellows but simultaneously leaning the breath against the chest in open and diagonal angle as well as opening the front and back of the throat. I might understand the theories well but it is really hard to ensure that I am doing correctly in real practice. Regarding squeezing the lower back, what is the sensation of it? Is it feeling like vomiting all the time? Also I realize that my shoulder will jerk to squeeze every bit of air from the back.
Michael Trimble what do you think of the concept that the singer closes the aryepiglottic sphincter to produce squillo? Isn't that muscular action not dictated by "the breath"?
Michael Trimble I agree, and unfortunately I was banned from young singing discussions for offering the opinion that intense scientific study of the voice will help us in ways but won't make us great singers. I just find it interesting to say not to close anything the breath doesn't close but apparently this isn't literally true, but moreso another vocal concept. It's so confusing trying to learn this art. I do notice more intense squillo when I actively try to isolate the area and close it, but I'm trying to get away from having to micromanage thinking about doing so many things, although it is possible
Sounds like you're so focused on breathing, that in your mind you're buoyed up, yet not for making the sounds (or high notes) to be desired. Try going for a moderately paced walk in a park, undisturbed, and begin to make short mezza voce emissions of sound on a pure Italian u (oo) vowel. Start in the pitch zone (area) somewhere before you "clam up" and from that small zone use the do-re-mi-re-do pattern to scale higher (without the larynx rising with the sound). Keep repeating the same note pattern a semi-tone higher, and relax on up (I've heard that too much pressure riding up underneath the vocal folds keeps them from attenuating, that is, coming together in a way that's productive without harm). You may just have to surprise yourself with a latent ability that you have not yet engaged in your voice. Basically what I'm getting at is: back off on the hyper-preparatory breathing and balance that with making some sounds "in your head" without getting nasal. It's this "full voice in the head" that you're making me think is what you are ready to concentrate on now. You may not be a bass-baritone, but a latent helden tenor. I have no idea since I've not heard you make a sound, nor have I been apprised of the dimensions of your dental arch (large, medium, or small). One more thing on this breathing business through a personal story. Please bear with me; it may be instructive to you. Meniere's of my left inner ear has thrown my whole world out of balance, both literally and subjectively, and for a long while: singingly. It's taken me over a decade of personal reflection and trying, trying, trying so as to reclaim what I lost, which probably wasn't worth maintaining anyway because "recovery" has provided even more than before. Here's the deal; my active military duty exposed me to second hand smoke, thus, I have emphysema and now bronchiectasis (rare dilation of lower lung lumen). What does this mean? Not only is yours, mine, and our breath as singers needing "management," and as Maestro Trimble teaches, properly placed AIR. Thus, if I understand it enough, that oxygen of life and singing MUST be properly COORDINATED with the vocal folds. I'll give you one more clue: the vocal folds are like little rubber bands, so the "high notes" you're wanting to create come of s-t-r-e-t-c-h-e-d bands riding within open spaces. Back to nature. Ever pick up a large maple seed and place the wing of it between your lips? An incredible amount of vibrating, carrying high frequencies come of it, as you figure out how to coordinate your breath through your mouth and lips and somehow onto the small edge of that maple seed's wing. And the thing of it is, unless all the small parts are working together in a unified dynamic you won't be able to make a maple-seed-wing sound! Of course with your own voice you have two wonderful wings, these vocal folds lying within the laryngeal cartilage box. If I have confused the issue, ignore my two bits, and please forgive me. DGF, DAV.
Hello my name is Nyjal, Carlo Bergonzi breath while keeping his chest and abdomen still, I would like to give that a go, but I can’t seem to keep my abdomen still. Any advice?? I can keep my chest still but not my belly.
Michael Trimble I understand the right way, but the way to do his way keep everything still, was it still pulled in to a certain degree, his abdomen. It’s hard to freeze everything
Michael Trimble Two more questions and the other one are already asked you. First, isn’t his support method like the greatest singers as pulls in on inhalation. Second, when doing Caruso method when you exhale, do you relax abdomen gradually or drop it immediately.
Michael Trimble Thanks so much! I also wondered about the quck "H" sound some tenors use when beginning a hignote. Pavarotti I noticed uses it, i was wondering if thats safe or even necessary? I hear it here before the big highnote: th-cam.com/video/B4o4vDYQKA4/w-d-xo.html
Michael Trimble I am starting to really get this singing thing down well, but I notice I have still a bad habit where I "clench" on the voice when I initiate the exhale, even if my breath is extremely well supported and the air compressed and all air turned to sound. I notice if I clamp down like this even a bit, when working with high air pressure I feel I fatigue very fast. Is this normal? I'm trying to keep the muscular engagement specific to the torso and not clamping. But I'm also finding as I work with more air pressure and better efficiency of air, any tension in my voice leads to a lot quicker discomfort or physical pain
Michael Trimble so much to learn! I am incredibly appreciative of your wisdom. I think I may naturally tend towards a lyric voice, but I thought the great Caruso was also in essence a lyric, but through the power of his intelligence and diligence and well strengthened power of his inhale was able to achieve a quite dramatic voice? I think it might not be entirely an issue of too much air pressure (if it can be leaned properly and enough cord closure generated, shouldn't it be possible?). I just find the discomfort mostly occurs when I clench or push on my voice on the exhale which is still a habit I have to crack. But when I don't do this I don't really feel discomfort even if I sing with as much compression as my bodily strength can muster. Although I do feel it more in my lower register, which would seem to align with your point that we should adjust the compression, correct? I never really thought about adjusting it, well I have, but things get lost as we try to learn a million things. Such a complex art
Michael Trimble I will HAVE TO see if I can get lessons from you at some point! And purchase your book and watch your videos. It's sad to say the art of good singing is dying, but masters like you are giving the few young singers out there still in love with the old beautiful bel canto technique a means of keeping the art alive
I have a serious question. Is it ok to raise shoulders while inhaling, so many people say it’s wrong but in some Jussi Björling performances, he does it. And I do it and it doesn’t hurt it actually helps??
What an excellent teacher!
You are amazing. For the first time I understood the meaning of inhaling the voice. You are so smart and funny and.... 80? I can’t believe!!! Truly amazing.
Would you advise to sing with the head up (exageratly so) to get used to not using the throat? Among other things I noticed that whenever I try to sing, my throat just engages.
Thanks! You are one of the Best Teachers.
Thanks for being back!
Sensational, jolly show, really well done 👍. Thank you so much.
You are crazy and brilliant. Thank you Maestro.
Maestro, i found your videos very helpful. Greetings from Poland!
Glad your videos are back! I just noticed I leak when I speak the U vowel but not while singing it. Strange.
Maestro! please upload more videos wish I could travel to your studio hopefully one day. bought your book, thank you.
Bravo maestro, thank you for your videos and your determination in teaching correct, healthy, historical technique. I am working with a teacher now near Wiesbaden who teaches precisely what you are teaching and explaining (his teacher lives directly in Wiesbaden, and she was a colleague of Fritz Wunderlich, studied with the same teacher as him). Your videos are wonderful supplements to my instruction! Thank you.
Appreciated Mike.
¡Muchísimas gracias por tan detallada explicación!
Looking for tips on classical singing I stumbled upon Your channel Sir and I'm so thankful that I did! I've been looking all over and found all kinds of information, all different, some contradicting and all did the same: Leaving me confused and with a tense throat... . Watching Your videos, especially this one, and trying out what You say has helped me so much!
Now, I'm a young baritone from germany, just getting into opera training after I just recently found that opera is what I ultimately want to do with my life. But training doesn't come cheap so I try to get what I can online until I can finally, hopefully soon, find a teacher. I've always wondered how this beautiful sound is produced and You made so many things clear to me.
I was lacking volume in my heights, it would make my voice crack, my throat so tight it hurt and made me worry I was ruining my voice horrifically. And I'm so very proud of my baritone. Now I have something to train towards, I see what I did wrong thanks to You, I can work on that, train that carefully and won't embarrass myself too much in my first lesson, hopefully ^^
Thank You so much for this golden information!
Micheal if u have a recording of yourself singing o sole mio please upload , i would love to hear it.
Thank you Michael for your knowledge and your sharing. For me this lecture was a real eye opener and I have seen almost all of your videos.
Dear Mr Trimble, Thank You for all your videos. You are the best and I let myself to call You "My Voice Teacher". I study Your every word. I wish I lived in America and to be your student.I am opera singer, lyric soprano,I am singing quite well but still not perfect as I wished. I have many questions and this is not possible to write everything. But I would like to ask You about open throat, low laryngx.I cannot feel low laryngx position. I do this motion with breath and when I start singing laryngx goes up.How can I change it. When You show us, Your throat is open when You sing low and high. Another question is: You speak about many singers but never about my favorite soprano John Sutherland. I would like to know her secret method of breathing, appoggio. Pavarotti talked about it, that she taught him. Could I send You my recordings that You listen me and mayby could You adwise something, Very kind regards. Agnes
Dear Mr Trimble, Thank You very much for Your answer,it is an honor for me !
At first : “Down bowing” means like You take a bow after concert? And She bow during singing to maintain legato?
Next: I should sing where I feel the "pulse" against my sternum ?It must be only imagination ,yes? (because phisically this is impossible).So I made mistake thinking of the larynx that should be low, mayby to low..
I sing 18 years, I am 36 years old. I am soprano. I write You more on private email and of course I would like to work with You on skype!
Kind regards
Agnieszka
not sure what i learned from you is correct understanding since im not a pro singer but i think i get the gist of it. i just dont know if i do it right. also you're funny 😂i especially love how you dispelled the cone tongue thing which i saw a lot in some singers (they sound good tho so im not sure) i know that unnatural expressions and shape are generally not needed in singing at all. Thank you so much!
Micheal could u make a video on how to long term develop voice , what exercises to use and what principals to follow while executing those exercises or how you do that with your students?
i wasnt gettting this concept, but i think i got it! Great demostration, thanks!
Amazing lesson. Superb instruction!
Awesome teachings.
You are amazing! Do you have some video about how to extend you vocal range?
Because right now my vocal range is from E2 To F#4.
But when I get to E4 and beyond without falsetto(which is my goal), my voice sounds weak (and sometimes I get there sometimes not) so I am kind of new in singing and I really want to extend my chest/head voice further and improve the notes from C4 to F#4 so that they will sound better and stronger
Hoping for your help
Amazing lesson, thank you!
U R the best ❤
Awesome instruction! Hilarious around 15:45 btw😂
love to have a drink with you one day Michael, a really interesting character,who has lived a life, and your school for that life has been the voice good luck to you.
Thanks Michael
Seems to be in great shape!!
For me i can last longer, less air , can you do it just at the high tones ?
To me its like covering the tone
Peter Lundgren
Would you be willing to do a video discussing tone deafness and amusia and what are methods to improve pitch for aspiring singers?
I can do it, I can do it, with the toilet paper! Never imagined I could! So exciting.Thank you x
Thanks so much Sir.
Pavarotti once said like
Biting the voice.
Thank you sir.
So if I follow you correctly: Thinking of the word "Stai" while using this technique will help a singer follow along the lines of the Italian school, rather than the German school of breathing? I tried this today and it made my voice much larger than what it usually is. My teacher at school thinks I may be developing into a Leggiero Tenor, but I couldnt figure out how to have more phonation until today. Thank you for your wise teachings, Mr. Trimble!
Thx ❤
Appreciate your videos, Michael. 24:20 😂
I find this works best in my upper register
But should I also explore this on my lower chest voice ?
Thank you that helps a lot
How can I become your student?
Pls lmk
You’re the best Michael
Salut, John. Write to tvi@biwifi.com and request information about lessons. Dr. Pamela's staff will send you the information you need to get on the schedule with me. All the best to you, Michael t
You are WONDERFUL! I am classified as a dramatic coloratura, graduating with a master’s in Vocal Performance (29yrs. old). I was told that I am leaking air. I need help. Would it be possible to arrange a coaching? Is there a website that I can visit to schedule?
Thank you Mr. Trimble. I just filled out and submitted a form on your website. I am so excited. Thank you so much!
My current teachers sang a tremendous amount of Wagner (among other big music), at all the big houses. They were trained by Evelyn Dahlberg and her father Frederich Dahlberg. The basic tenets of what they teach is, a small mouth, inhalare la voce, a completely relaxed throat with no muscle action, no lateral breathing, only breathing into the front and back, a deep deep placement of the voice (sternal notch or lower), but keep vowels bright and speech-like.
I was trained in more of a Appoggio method, and I'm finding that while I really like how it feels to Inhalare la voce, it feels like I'm not "supporting" or "leaning" the voice anymore. Is it ok to give up these Appoggio sensations if the phonation is still good, and the chords don't spread? Just feels like I've lost my engine a bit.
Also I'm finding that my instinct is to breath laterally (into the flanks, or spread the bottom ribs), instead of into the back. It's been difficult working to break that habit. Any advice?
A wonderful thing to hear! Thank you!
Doesn't Maestro Trimble say that a slight tummy tuck upon air intake does send air into the back? Try it.
Is there any way I could email you and possibly get some feedback on really short voice clips? And potentially discuss lessons? My voice just seems stuck in a position where it's too small to be an operatic voice, even when I sing with good support, lower larynx and squillo etc.
Michael Trimble thank you Maestro Trimble. Can you share with me your email address?
With a bit more rethinking I think you're right. I seem to be forcing a spinto sound when I'm more a lighter tenor I think closer to Schipa
Michael Trimble oh my lord, I purchased your book and I'm only 30 pages in and already feel my voice is 50% larger but the physical effort reduced 100%. Your book is an absolute treasure of unspeakable value! I don't even feel I have to exert much effort at all to stabilize the support, I just breathe into my back and release like a crying baby and boom, a huge ringing voice with natural vibrato. Amazing
How can I stop cracking or straining when I sing the EE or OO vowels?
Hi MikeWell be singing Scarpia in Tosca. In rehearsals right now. Have at times problems with 'Mia' on the F sharp. The first Mia is an e flat then the word is repeated on f sharp. This is at the end of Scarpia's aria. Had the same issue in Il tabarro which I sang in October that I finally fixed. I saw a production with Cappucelli on utube and he was having trouble with the e vowel. What is the issue on the e vowel? Tucker's e vowel was fabulous. Could the throat be too dry or too much back pressure. I have to drive 2 and half hours in a heated car and then sing about an hour later. Very gun shy right now. Performance will be in March. Any suggestions. Enrico (73 and half year old baritone).
Mike. I will try your idea tomorrow. Will do the Corelli nose pinch and the B position. Getting into the true mask seems a challenge on the e vowel. What I was consciously doing was to try feel the M reasonating on the lips before going to the ia. Will let you know how it goes. Will do half notes going from middle C to HIGH G.Rick
Mike- I located your video on November 15, 2016 on the true mask. Will study this since I think half the sound on the Mia goes into the nose and the other in the lower part of true mask. If this is true this may explain my problem with cracking. Rick
Will inhalare la voce eventually lead us to open up our pharyngeal muscle and therefore create pharyngeal sound that is used to project our voice? I recalled that you had a video about pharyngeal sound for the projection of the sound. I think inhalare la voce is great mental image to approach toward pharyngeal sound.
Michael Trimble Thanks for the reply. One more thing is it seems that I can't accept myself with the fact that I am just a bass-baritone who can't sing high. If I want to sing high, I realize that I have to squeeze my lower back excessively to create right pressure for the desired high notes but it doesn't sound as beautiful as my lower notes. I have no idea if my support is on right track but I do know that singing requires the lower back to squeeze like bellows but simultaneously leaning the breath against the chest in open and diagonal angle as well as opening the front and back of the throat. I might understand the theories well but it is really hard to ensure that I am doing correctly in real practice. Regarding squeezing the lower back, what is the sensation of it? Is it feeling like vomiting all the time? Also I realize that my shoulder will jerk to squeeze every bit of air from the back.
Michael Trimble what do you think of the concept that the singer closes the aryepiglottic sphincter to produce squillo? Isn't that muscular action not dictated by "the breath"?
Michael Trimble I agree, and unfortunately I was banned from young singing discussions for offering the opinion that intense scientific study of the voice will help us in ways but won't make us great singers. I just find it interesting to say not to close anything the breath doesn't close but apparently this isn't literally true, but moreso another vocal concept. It's so confusing trying to learn this art. I do notice more intense squillo when I actively try to isolate the area and close it, but I'm trying to get away from having to micromanage thinking about doing so many things, although it is possible
Michael Trimble I will purchase your book!
Sounds like you're so focused on breathing, that in your mind you're buoyed up, yet not for making the sounds (or high notes) to be desired. Try going for a moderately paced walk in a park, undisturbed, and begin to make short mezza voce emissions of sound on a pure Italian u (oo) vowel. Start in the pitch zone (area) somewhere before you "clam up" and from that small zone use the do-re-mi-re-do pattern to scale higher (without the larynx rising with the sound). Keep repeating the same note pattern a semi-tone higher, and relax on up (I've heard that too much pressure riding up underneath the vocal folds keeps them from attenuating, that is, coming together in a way that's productive without harm). You may just have to surprise yourself with a latent ability that you have not yet engaged in your voice. Basically what I'm getting at is: back off on the hyper-preparatory breathing and balance that with making some sounds "in your head" without getting nasal. It's this "full voice in the head" that you're making me think is what you are ready to concentrate on now. You may not be a bass-baritone, but a latent helden tenor. I have no idea since I've not heard you make a sound, nor have I been apprised of the dimensions of your dental arch (large, medium, or small). One more thing on this breathing business through a personal story. Please bear with me; it may be instructive to you. Meniere's of my left inner ear has thrown my whole world out of balance, both literally and subjectively, and for a long while: singingly. It's taken me over a decade of personal reflection and trying, trying, trying so as to reclaim what I lost, which probably wasn't worth maintaining anyway because "recovery" has provided even more than before. Here's the deal; my active military duty exposed me to second hand smoke, thus, I have emphysema and now bronchiectasis (rare dilation of lower lung lumen). What does this mean? Not only is yours, mine, and our breath as singers needing "management," and as Maestro Trimble teaches, properly placed AIR. Thus, if I understand it enough, that oxygen of life and singing MUST be properly COORDINATED with the vocal folds. I'll give you one more clue: the vocal folds are like little rubber bands, so the "high notes" you're wanting to create come of s-t-r-e-t-c-h-e-d bands riding within open spaces. Back to nature. Ever pick up a large maple seed and place the wing of it between your lips? An incredible amount of vibrating, carrying high frequencies come of it, as you figure out how to coordinate your breath through your mouth and lips and somehow onto the small edge of that maple seed's wing. And the thing of it is, unless all the small parts are working together in a unified dynamic you won't be able to make a maple-seed-wing sound! Of course with your own voice you have two wonderful wings, these vocal folds lying within the laryngeal cartilage box. If I have confused the issue, ignore my two bits, and please forgive me. DGF, DAV.
Das ist cool 😎
Hello my name is Nyjal, Carlo Bergonzi breath while keeping his chest and abdomen still, I would like to give that a go, but I can’t seem to keep my abdomen still. Any advice?? I can keep my chest still but not my belly.
Michael Trimble I understand the right way, but the way to do his way keep everything still, was it still pulled in to a certain degree, his abdomen. It’s hard to freeze everything
Michael Trimble Two more questions and the other one are already asked you. First, isn’t his support method like the greatest singers as pulls in on inhalation. Second, when doing Caruso method when you exhale, do you relax abdomen gradually or drop it immediately.
That is probably the best description of how to breathe and support. Thank you.
I see u talk about air not hitting u and the vocal chords. How exactly do u know when that happens ?
Michael Trimble Thanks so much! I also wondered about the quck "H" sound some tenors use when beginning a hignote. Pavarotti I noticed uses it, i was wondering if thats safe or even necessary? I hear it here before the big highnote: th-cam.com/video/B4o4vDYQKA4/w-d-xo.html
Michael Trimble I am starting to really get this singing thing down well, but I notice I have still a bad habit where I "clench" on the voice when I initiate the exhale, even if my breath is extremely well supported and the air compressed and all air turned to sound. I notice if I clamp down like this even a bit, when working with high air pressure I feel I fatigue very fast. Is this normal? I'm trying to keep the muscular engagement specific to the torso and not clamping. But I'm also finding as I work with more air pressure and better efficiency of air, any tension in my voice leads to a lot quicker discomfort or physical pain
Michael Trimble so much to learn! I am incredibly appreciative of your wisdom. I think I may naturally tend towards a lyric voice, but I thought the great Caruso was also in essence a lyric, but through the power of his intelligence and diligence and well strengthened power of his inhale was able to achieve a quite dramatic voice? I think it might not be entirely an issue of too much air pressure (if it can be leaned properly and enough cord closure generated, shouldn't it be possible?). I just find the discomfort mostly occurs when I clench or push on my voice on the exhale which is still a habit I have to crack. But when I don't do this I don't really feel discomfort even if I sing with as much compression as my bodily strength can muster. Although I do feel it more in my lower register, which would seem to align with your point that we should adjust the compression, correct? I never really thought about adjusting it, well I have, but things get lost as we try to learn a million things. Such a complex art
Michael Trimble I will HAVE TO see if I can get lessons from you at some point! And purchase your book and watch your videos. It's sad to say the art of good singing is dying, but masters like you are giving the few young singers out there still in love with the old beautiful bel canto technique a means of keeping the art alive
I have a serious question. Is it ok to raise shoulders while inhaling, so many people say it’s wrong but in some Jussi Björling performances, he does it. And I do it and it doesn’t hurt it actually helps??
Deutscher Opernsänger ist da 😂
At least he is an excellent 🤡 clown.