If this is the closest I get to having you as a teacher, I am beyond honored. You’re an incredible teacher, thank you for the education you provide for vocal discipline!
I haven’t been on your channel in two years but I watched your channel daily for my first year of vocal training Currently I am singing at a hotel every Friday Although I sing contemporary and jazz and R&B there is quite a bit of bel canto onset’s coordination and Appoggio that I utilize a lot of it learned from your videos. Thank you for you information
This man is pure wisdom! And it is so easy to understand, because he knows how to explain complex things without complicating them more than necessary. The result is to make singing easy and not a doctorthesis.
Hi Sir, You recommended me your book, what a brilliant read so far. Also, your Videos on here are just pure gold, I could only dream to imagine what lessons with you would be like. What I will say is, with combinations of your book and all these videos so far, I have come so so far. I'm hitting higher notes than ever before, and just so relaxed doing them. My throat is relaxed, I feel no strain, it's just amazing. When I went for the higher notes before, I felt tension and strain in my throat area, but over a period, it's gone. Not really a lot of effort is needed to produce a loud clear tone. The key for me is to just stay completely relaxed and just let it happen with a combination of Lean, really good support, and inhaling the breath. Don't know why I like inhaling the breath so much, it just seems to produce a different tone and ease to the singing. To end, just want to say thank you for giving up your time and passing on these little gems.
You are very welcome, Victor. I'm always happy to do anything that helps the young singers (and some of the older ones, too!) if I can. Thanks for the tapes you sent. You sound beautiful as usual. Keep up the good work and all the best. Michael t
I am always amazed at how much I learn from these videos. Thank you so much Michael. Feeling the difference between no compression and adding emotion really helps me isolate the unwanted activity I have in my throat and jaw. I sense another video coming...Caruso talking about feeling the tone vibrating inside the body. The difference between that and listening to your own sound.
PS The book is absolutely fantastic. Yes! Yes! Yes! It goes wherever I go. I highly recommend it!!! May I add to my request about feeling the tone vibrate...the difference between that and humming.
I start paying attention when I listen to judy garland and barbra streisand. I notice they actually use his method. Their vibrato are phnomenal. Barbra can make a soft head voice into a strong belt in a blink of an eye, both with great vibrato She has to use breath control to do that. Judy when she sings soft, it's a head voice. but when she takes a huge breath, which she does all the time, and let out all her voice, it's a belt with vibrato.. Also I notice Barbra and Judy both like to lift their head up to let out a huge high belt with vibrato. if there is any motion in their throat or their breathing technique is weak they wouldn't be able to do that. Also, I don't know if my observation is ture, but I think there is only one voice, chest and head is just about the amount of the breath you decided to lean on. Especially in the high ranges. a well supported high note is a chest voice and a purposefully breath-reserved note is a head voice.
Mike, What about those singers like Tom Jones where his vibrato lasts pretty long at the end of a line and is so even? What can help develop that consistent, sustained vibrato?
I wonder…when you do fast or medium speed scales and other exercises, maybe even a 1-3-5-8-5-3-1, do you keep the vibrato through those or allow it to be more like straighttone on each pitch? The faster I move the voice the more it feels like straight tone, and I’m not sure if I should allow that or make the voice keep the vibrato even when moving quickly. Thank you!
Aaron, Do not try to vibrate the voice when singing any kind of coloratura. The energy of compression causes vibrato, and, when singing coloratura phrases, that energy is used to allow the notes to be sung with a consistent color and the rapidity of execution. Some equivalent of vibrato will occur in coloratura singing because of the emotion of the character being sung. Early music is often sung without any vibrato because the intent is to emulate a musical effect (singing like a musical instrument instead of a tool of dramatic expression) and not a dramatic effect. If you sing coloratura with a happy or sad or dramatic expression, the voice will become more vibrant and actually a vibrato will be evident on any note that is sustained, even if only for a moment. So, do not attempt to generate vibrato while singing coloratura phrases, but use that energy to maintain the freedom of the throat which is essential to great coloratura singing. The instant you sustain a note somewhere along the way, the same energy will vibrate the tone. Everything in singing depends on deep breathing which frees the throat and allows the necessary flexibility for great singing. Caruso called it "the massive power of the respiration required for great singing". After 64 years of singing, i would have to agree with his approach to solving all and any problem or question in singing. Happy coloratura (and breathing), Michael t
This explanation of emotion, vibrato, tremolo, wobble using the breath (properly or improperly) is so clarifying. I’ve wondered and worried about these things all through the my years of singing. Sometimes things would “click” in my singing; other times they wouldn’t but I couldn’t understand why until now. Thank you! Thank you!
Hello dear Mr Trimble. Thanks a lot for your videos. They've completely changed m'y singing. I wrote months ago and told you i had ni vibrato. Furtunately, After a while, it came into my voice, but at the begining, it was too pronounced to the point of singing sometimes liké a goat and many Time it was si exagerated that it didn't allow me to sing. Not, it's less exagerated, but it's very fast. And when i practice, After some minute, it become less exagerated and After a while, it desappears completely. What Can i do to fix this problem ? Do i face these problems because m'y voice IS not yet mature ?
You obviously need to concentrate on deep breathing into your lower back while pulling the lower belly (abdomen) inward like a baby before it laughs or cries. it is backwards to breathe like a sleeping baby, with the abdomen going outward while breathing inhaling..
I discovered that vibrato in slow motion is a sound composed by two notes or a third like C and E, or C# anf F, or D and F#, etc etc, So I've developed an scale exercise of a third in ascending and descending to improve my vibrato an it works after many repetition you gonna notice the difference. this is the way I do it beginning in my lower register. I start in note C in ascending example C D E, D E F, E F G, and descending G F E, F E D, E D C or C E, D F, E GG E, D F, E C that's a scale of fifth but normally I use to do it in scale of a octave and a eleven, example C D E, D E F, E F G, F G A, G A B, A B C ascending and descending C B A, B A G, A G F, G F E, F E D, E D C as octave and an eleven C D E, D E F, E F G, F G A, G A B, A B C, D E F, E F GG E F, F E D, C B A, B A G, A G F, G F E, F E D, E D C or CE, DF, EG, FA, GB, AC, DF, EG and descending GE, FD, CA, BG, AF, GE, FD, EC. this exercise would help you with your vibrato, your tuning, and improving in controlling your air resistance
I wish I could understand what you're doing, but your sung examples sound pretty much the same. I'm sure your instructions work for Male voices. For a Soprano - not so much. Your Narrative makes sense. Baritones spend most of their time being frustrated but at least - unlike Tenor and Soprano - usually don't end up dead!
Suzanne, i have soprano students singing all over the world where opera, operetta, or classical concert repertoire is being presented. Most of the major competitions have had Trimble students winning first place for the past 50 years or so. I think they would disagree with your assessment of my instruction not being good for sopranos. I teach in 34 countries and there are sopranos singing in all of them using the so-called "Trimble Method". Actually, i don't use any special method that applies to every voice type. it is really up to the individual singer to learn how to achieve a totally free throat and breath support in their own unique bodies. I'm sorry you couldn't find anything useful in the videos I put up on TH-cam. Maybe you are especially unique. Send me a tape and let me have a listen. Maybe i will know how to approach your voice in a unique way that will suit your unique voice. All the best to you. Michael t
This is pure gold. I hope voice students and young aspiring singers can appreciate all that wisdom and your generosity.
Mr. Trimble is leaving his legacy in these videos and in his book. Something not everyone accomplishes in their lives. Thank You Mr. Michael Trimble!
If this is the closest I get to having you as a teacher, I am beyond honored. You’re an incredible teacher, thank you for the education you provide for vocal discipline!
This is the greatest music lesson I’ve ever seen on video. Simply “ putting emotion into it” works
I haven’t been on your channel in two years but I watched your channel daily for my first year of vocal training
Currently I am singing at a hotel every Friday
Although I sing contemporary and jazz and R&B there is quite a bit of bel canto onset’s coordination and Appoggio that I utilize a lot of it learned from your videos.
Thank you for you information
This man is pure wisdom! And it is so easy to understand, because he knows how to explain complex things without complicating them more than necessary. The result is to make singing easy and not a doctorthesis.
Wow, really nice your channel!! Thank you for your tips
10.000 Followers! Bravo Mr.Trimble!
It must be at least 500 000, but so sad that many singers still believe in miracles.... but not in simple but working technics.
Thank you for taking the time to share with us your best Michael, hugs 🤗🤗🤗🤗.
Finally!! I’m so grateful for this. Thank you so much Mr. Trimble you’re the best!!! ❤️❤️❤️🥰
Hi Sir, You recommended me your book, what a brilliant read so far. Also, your Videos on here are just pure gold, I could only dream to imagine what lessons with you would be like. What I will say is, with combinations of your book and all these videos so far, I have come so so far. I'm hitting higher notes than ever before, and just so relaxed doing them. My throat is relaxed, I feel no strain, it's just amazing. When I went for the higher notes before, I felt tension and strain in my throat area, but over a period, it's gone. Not really a lot of effort is needed to produce a loud clear tone. The key for me is to just stay completely relaxed and just let it happen with a combination of Lean, really good support, and inhaling the breath. Don't know why I like inhaling the breath so much, it just seems to produce a different tone and ease to the singing. To end, just want to say thank you for giving up your time and passing on these little gems.
Thank you so much Michael!!! ♥
You are amazing as a singer and teacher 🤩🧐
Real Maestro! Thank you Mr. Trimble
You are very welcome, Victor. I'm always happy to do anything that helps the young singers (and some of the older ones, too!) if I can. Thanks for the tapes you sent. You sound beautiful as usual. Keep up the good work and all the best. Michael t
Great video
I am always amazed at how much I learn from these videos. Thank you so much Michael. Feeling the difference between no compression and adding emotion really helps me isolate the unwanted activity I have in my throat and jaw.
I sense another video coming...Caruso talking about feeling the tone vibrating inside the body. The difference between that and listening to your own sound.
PS The book is absolutely fantastic. Yes! Yes! Yes! It goes wherever I go. I highly recommend it!!! May I add to my request about feeling the tone vibrate...the difference between that and humming.
I start paying attention when I listen to judy garland and barbra streisand. I notice they actually use his method. Their vibrato are phnomenal.
Barbra can make a soft head voice into a strong belt in a blink of an eye, both with great vibrato She has to use breath control to do that. Judy when she sings soft, it's a head voice. but when she takes a huge breath, which she does all the time, and let out all her voice, it's a belt with vibrato.. Also I notice Barbra and Judy both like to lift their head up to let out a huge high belt with vibrato. if there is any motion in their throat or their breathing technique is weak they wouldn't be able to do that.
Also, I don't know if my observation is ture, but I think there is only one voice, chest and head is just about the amount of the breath you decided to lean on. Especially in the high ranges. a well supported high note is a chest voice and a purposefully breath-reserved note is a head voice.
Wonderful!
Are we pulling the stomach IN when we inhale?? Everyone seems to be saying it should go out. Please explain
Mike, What about those singers like Tom Jones where his vibrato lasts pretty long at the end of a line and is so even? What can help develop that consistent, sustained vibrato?
Vibrato could only be achieved with abundant of "air puff", you need stable airflow and active compression from the diaphragm.
I wonder…when you do fast or medium speed scales and other exercises, maybe even a 1-3-5-8-5-3-1, do you keep the vibrato through those or allow it to be more like straighttone on each pitch? The faster I move the voice the more it feels like straight tone, and I’m not sure if I should allow that or make the voice keep the vibrato even when moving quickly. Thank you!
Aaron, Do not try to vibrate the voice when singing any kind of coloratura. The energy of compression causes vibrato, and, when singing coloratura phrases, that energy is used to allow the notes to be sung with a consistent color and the rapidity of execution. Some equivalent of vibrato will occur in coloratura singing because of the emotion of the character being sung. Early music is often sung without any vibrato because the intent is to emulate a musical effect (singing like a musical instrument instead of a tool of dramatic expression) and not a dramatic effect. If you sing coloratura with a happy or sad or dramatic expression, the voice will become more vibrant and actually a vibrato will be evident on any note that is sustained, even if only for a moment. So, do not attempt to generate vibrato while singing coloratura phrases, but use that energy to maintain the freedom of the throat which is essential to great coloratura singing. The instant you sustain a note somewhere along the way, the same energy will vibrate the tone. Everything in singing depends on deep breathing which frees the throat and allows the necessary flexibility for great singing. Caruso called it "the massive power of the respiration required for great singing". After 64 years of singing, i would have to agree with his approach to solving all and any problem or question in singing. Happy coloratura (and breathing), Michael t
@@Tenoretrimble Many thanks for this wonderful reply which makes perfect sense.
I’ve tried and tried with emotions yet no vibrato 😢I can’t seem to find it
This explanation of emotion, vibrato, tremolo, wobble using the breath (properly or improperly) is so clarifying. I’ve wondered and worried about these things all through the my years of singing. Sometimes things would “click” in my singing; other times they wouldn’t but I couldn’t understand why until now. Thank you! Thank you!
Hello dear Mr Trimble. Thanks a lot for your videos. They've completely changed m'y singing.
I wrote months ago and told you i had ni vibrato. Furtunately, After a while, it came into my voice, but at the begining, it was too pronounced to the point of singing sometimes liké a goat and many Time it was si exagerated that it didn't allow me to sing. Not, it's less exagerated, but it's very fast. And when i practice, After some minute, it become less exagerated and After a while, it desappears completely. What Can i do to fix this problem ? Do i face these problems because m'y voice IS not yet mature ?
You obviously need to concentrate on deep breathing into your lower back while pulling the lower belly (abdomen) inward like a baby before it laughs or cries. it is backwards to breathe like a sleeping baby, with the abdomen going outward while breathing inhaling..
I discovered that vibrato in slow motion is a sound composed by two notes or a third like C and E, or C# anf F, or D and F#, etc etc, So I've developed an scale exercise of a third in ascending and descending to improve my vibrato an it works after many repetition you gonna notice the difference. this is the way I do it beginning in my lower register. I start in note C in ascending example C D E, D E F, E F G, and descending G F E, F E D, E D C or C E, D F, E GG E, D F, E C that's a scale of fifth but normally I use to do it in scale of a octave and a eleven, example C D E, D E F, E F G, F G A, G A B, A B C ascending and descending C B A, B A G, A G F, G F E, F E D, E D C as octave and an eleven C D E, D E F, E F G, F G A, G A B, A B C, D E F, E F GG E F, F E D, C B A, B A G, A G F, G F E, F E D, E D C or CE, DF, EG, FA, GB, AC, DF, EG and descending GE, FD, CA, BG, AF, GE, FD, EC. this exercise would help you with your vibrato, your tuning, and improving in controlling your air resistance
I wish I could understand what you're doing, but your sung examples sound pretty much the same. I'm sure your instructions work for Male voices. For a Soprano - not so much. Your Narrative makes sense.
Baritones spend most of their time being frustrated but at least - unlike Tenor and Soprano - usually don't end up dead!
Suzanne, i have soprano students singing all over the world where opera, operetta, or classical concert repertoire is being presented. Most of the major competitions have had Trimble students winning first place for the past 50 years or so. I think they would disagree with your assessment of my instruction not being good for sopranos. I teach in 34 countries and there are sopranos singing in all of them using the so-called "Trimble Method". Actually, i don't use any special method that applies to every voice type. it is really up to the individual singer to learn how to achieve a totally free throat and breath support in their own unique bodies. I'm sorry you couldn't find anything useful in the videos I put up on TH-cam. Maybe you are especially unique. Send me a tape and let me have a listen. Maybe i will know how to approach your voice in a unique way that will suit your unique voice. All the best to you. Michael t