Application of Bel Canto Breathing Technique
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- Опубліковано 25 сер 2023
- trimblevocalinstitute.com
Fundamentals of Great Vocal Technique:
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Internationally renowned Tenor and Master Voice Teacher, Michael Trimble. 65 years of expertise/performing, teaching and Artist training/acclaimed vocal pedagogue. Career building, vocal literature for aspiring students and experienced professionals.
I can't believe this man puts all this stuff online for free. Love it.
If it was true you might be right
The way I understood your technique of breath leaning and posture, this is natural -- and the breath stop is not needed. Stopping breathing naturally follows when you have full control of breathing with your postural, rib, and diaphragm muscles. Your vocal chords can trust that they will get the right amount of air, with right amount of pressure, on demand.
Master of voice teaching masters ❤
Thank you sir, for this great lesson, I was reading some books and material on Bel Canto singing since my teacher told my that I should learn more about it if I so desired, and was at first very confused by the material I was reading, so your video showed up suddenly, as though god was showing me the correct path, or its just the UA-cam algorithm, who knows.
Anways thanks to your lesson, I felt a sort of mini-enlightenment, I realized that I put too much effort into breathing and that the act of breathing itself is taxing on me and I was looking for a way to breathe correctly, but somehow it had not crossed my mind to just stop breathing, after trying out the act of simply not breathing and just singing, I realized that I can sing more freely and much more relaxed than I could before when I was tensing up thinking about breathing, you have made my life much simpler, and I am excited to show this new discovery to my teacher after practicing for some time.
I thank you once again Mr. Trimble.
It took him like seven years to mention this additional technique.. interesting indeed!! I love this guy been following for so long
Always appreciated Mike
Grazie, Maestro! Tanto amoré!
thank you Michael very helpful video
Thank you!
Very deep and self experimented thoughts🎶🌈
The dive idea is excellent 😁
Thank You!!!!!!
Thank you Mr. Trimble... This video seems to confirm the concept i have developed from your book and videos - and from the Caruso walking exercise and other exercises i have done from the book.
I think of this as "staying inhaled". Would that be an accurate description of the non-stopped "underwater" approach you describe here?
One doesn't "hold one's breath" by pinching the throat of the balloon, but by keeping the body-bellows opened... Is this correct?
This also seems related to the tongue trill/raspberry exercises - when i just open my mouth after raspberrying on a note and vowel they are already there without any sensation of leaning or 'attack'... Yes?
The only actions i consciously "set" or mark are the navel jerk at inhalation, the fully inhaled back position, and the "pre-sneeze".
Thanks very much for your book and videos!
Thank you mr Trimble for another helpfull video. I practice Caruso 40 Step Walk, and i have a question -When I hold my breath for the last 10 seconds, my diaphragm starts to contract involuntarily and I feel hungry for breath. Is the point of this exercise to resist this feeling and force the abdominal muscle and diaphragm toconcrat, or is this undesirable and breath hunger is bad? I heard about distinction in italian tehnique beetwen "sostegno" and "appoggio", can anyone explain to me the diffrence ,or this is the same thing?(supporting the voice)
Bel canto technic works marveloulsy whith baroque and classic, in romantic music it works whith light voices, for big voices or verismo the breathstop is more efficient, Mr Trimble knows how to pratice both. This man is a true Maestro but don't simplify his teaching watching only one video and thinking it is the holy grail, I've done it before 😉 got to read his book and others, and overall pratice, preferally if possible whith one good teacher ( who sings well and whom pupils sing well too).
If you exhale all your breath and then start to sing what are you singing with?
Great video again! Do you know the mechanical things that are happening when we dont use the breathe stop? Aka, how is sound actually created? Does it mean the Rib cage expanded through the back with sound being controlled by diaphragm movement instead?
Also, do you feel the sound vibrating at the back of the throat typically with this?
Imagine that your vocal chords can request the exact amount of air they need, no more no less, and at the exact right pressure to vibrate at the frequency the brain wants to produce.
So the sound is created directly by the vocal chords, nothing else. Everything else above the shoulders is just a resonator and shaper of sound. And the proper control of what's below the shoulders is what gives the vocal chords exactly what they need.
@@justgivemeanumber8215 thank you so much, that was a great explanation. Very much appreciate your reply
I like your channel very much. I'm a nurse and I'm 24 but I've always loved singing. And I fell in love with the opera. This year I put everything on one card and I managed to get into vocal studies. And I wanted to ask you, do you give singing lessons? That would be fantastic.
kind regards
Mikolaj
Please write to me directly at pamela@biwifi.com.
@@Tenoretrimble Thank You!
Hi, Mr. Trimble. Thank you for the new video on the stopping the breathing technique. Even though there is no breathstop involved, is the breath still being regulated by leaning it against a point of appoggio or by sighing or sliding back and down as discussed in other videos? Or is the lean not used in this method? Thanks.
The diagonal lean is used. It's very fully mastered, if anything.
How do you hold your breath under water? Don't inhale or you will get water in your lungs. Don't exhale or you will lose some of your oxygen and have to go up to get a breath sooner. So, how do you not breathe when diving or swimming under water?
@@Tenoretrimble Wisdom as its best....
Dear Michael,
I watched your last UA-cam video on belcanto singing technique.
As an advocate of belcanto teaching, I also teach the same breathing technique as a bass and add
" thought projection of tone on the flow of breath"
I would love to hear your opinion on this concept as this was also used by
E. Herbert Caesari (Gigli's teacher, (among others).
Warm regards,
Raymond Modesti
Salut, Raymond! the only thing that has presented problems in the past had been the part about the "flow of breath". Singers who were performing more dramatic roles all got into trouble with that part. so, I stopped including that concept about 50 years ago! Instead, i had them use the Tamagno idea of projecting the "breath stops" at specific remote targets, like and agent sitting in the second balcony, third row. I changed the "flowing concept" to only "Down-bowing" while singing. No up-bows or up and down bowings, like on a violin. It makes nice picture for the singers, especially the more dramatic ones. They learn very quickly to sing only legato. if they need an accent, the can suddenly down-bow more dramatically. it works very well. Lauri-Volpi talked about a concept he learned from Cotogni that he called "Sliding back and down". Gigli learned it, too, but added a lot of sobbing to it. It is all very interesting, but I tried the concepts out while based in 'Germany and I did not like to flow the breath at all and stopped using it completely in my own singing. But I did use it in teaching while working with the lyric singers. Maybe i just interpreted the words the wrong way. Good luck to you and Keep doing what you are doing. It is a beautiful idea if you can figure it out, and you seem to have it clearly understood1 Michael
@@Tenoretrimble Michael,
Thanks for your reply!
I fear I may not have explained my "adapted" thought projection and flow of breath. There is a definite stop* after Inhaling and singing out on an economic stream of breath!
As I work with almost only dramatic voices I've had very good results especially with tenors being able to get their high notes much easier when they thought projected* before they sing ....and then use the flow of breath to sing legato.
I think with many things the interpretation is the key here!
I like the idea of Tamagno's of projectiing the breath stops.
"down-bowing".... in essence results in much the same from what I teach.
Legato is the key for both dramatic and lyric voices , they need to work the inhalation and then stop and sing out on a supported stream of breath.
I think it's great to be able to exchange our Concepts and ideas of the old school technique.
The interpretation is always a matter to be considered 😉
Have a great day!
do you offer personal lessons over skype?
Mr. Trimble, what would be your main advices for young singers in order to preserve as much as possible their vocal chords health on a long-term?
Take on hobbies that will develop the breathing capacity, strength, stamina, and location of the inhalation process in the lower ribs in the lower back. Nothing passes through the Trachea/Larynx but air/ breath. Therefore, it is clear that breath can be our best friend or our worst enemy. The most important consideration for any singer is to not permit any breath to leak while singing. No breath must leak through the glottis/vocal folds/vocal cords while speaking or singing. Only sound should come out. In the "old days", singers were trained to sing into a candle flame without moving it. In modern times, we have tissue paper that is thin enough and fragile enough to indicate any movement of excess breath in a tone or while singing the consonants. Singers and public speakers, trial lawyers, and teachers of every kind should practice with the tissue paper hanging in front of and close to the lips while speaking or singing and not permit even the slightest movement of the paper. Practice the entire alphabet, using words and text that tend to leak breath, like pa, pa, pe, pe, pi, pi, po, po, poo, poo, palace, special, frosty, popular, etc. None of these consonants should be allowed to leak and move the paper.The best way to develop what Caruso called the "massive power of the respiration required for great singing" is to swim long distances, like Caruso, Corelli, Joan Sutherland, Nellie Melba, and Kirsten Flagstad, or do Yoga like Helge Rosvaenge (3 hours per day for 55 years), or Robert Merrill (2 hours per day for 65 years!). Learn to play any wind instrument except Oboe or any brass instrument except French Horn The embrasure is too demanding for the amateur player (Fritz Wunderlich played French Horn fo 30 years and was the best light lyric tenor in history, so there are exceptions). Gigli played saxophone, Martinelli played clarinet, Ghiaurov played trombone and clarinet, etc. The singer should do the Caruso Walk 40 Step Walk (10 steps inhaling with the abdomen moving inward, then 10 steps holding the breath, then 10 steps exhaling with the abdomen falling outward and the chest very still, then 10 steps holding empty with the abdomen maintaining the completely dropped, loose outward posture and the chest held up and not collapsed. Repeat this as often as possible and if the singer is unable to do a regular 10 step sequence, shorten the number to 8 or 6 or to what is possible until then capacity is developed sufficiently. I hope this helps those who need it. Caruso wrote a book in 1908 hat has only 32 pages on how to sing. He mentioned breathing 60 times in the little book! Was he obsessed with breathing? Yes!! All the best to you and to those who are seeking to seek beautifully, Michael t
@@Tenoretrimblewow what a gift from God for you to bless us with this wisdom
Firsttt♥️♥️
Secondd!!!!❤❤❤
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4:55
Hi Michael. Edward L. Johnson says in bel canto we must be prepared to use more air as we sing higher. Can you clarify this? I feel we should use less air as we sing higher. Thank-you
It can be confusing because the compression needed to equalize the resistance of the vocal folds on high notes requires more compression of the breath in order to match the fullness of the lower notes.. A large breath when compressed can become a much smaller breath for practical use. when compressed The key seems to be, maintaining the same result when vocalizing from low to high and back in terms of evenness and legato... but we need more breath for high notes because of the compression required to equalize the resistance of the vocal folds. 'anything we compress gets smaller, so we need more breath so that when we do have to compress the air, it is still full enough to sound like the tones match. That is the way I always did it and I can only recommend it. I know it works! Michael
I should add that the development of the breath capacity is essential because of the constant variations in the need for compression in different amounts and at different times. Easy but ringing, powerful high notes require want Caruso called the "massive power of the respiration required for great singing". As I was told 67 years ago by Mack Harrell, the larger the drum, the more powerful the sound it makes. Deep breathing provides endless advantages to a singer who performs a wide variety of vocal styles and needs. We can consider easy high notes as one of the benefits, but the overall color and projection of the voice becomes very easy, also. MT
@@Tenoretrimble Thanks for explaining this Michael. Many years ago I studied speech level singing with Seth Riggs which is where the confusion began for me. The instruction was to 'use less air' as notes went higher into the head/mix voice.
Due to this instruction I found myself using less diaphragmatic breathing and basically not having enough air to sing freely from bottom to top.
Fortunately, I'm now getting a handle on how to sing effortlessly throughout my range. I'm 48 years old and enjoy singing now more than ever thanks to the Bel Canto approach.
The more I listen to you the more I am inspired to continue. You're amazing. Much appreciated.
I understand not creating a nasal sound, but are we supposed to close off the post nasal passage at all? I would think there’s always going to be air leakage through there but i dont know of singers ever block it off during the vowels.
VOCALIZE USING "BOB, BOB. BOB. BOB". YOUR NOSE WILL CLOSE CORRECTLY. NEVER SING USING "MOM, MOM, MOM," WHICH WILL OPEN THE NOSE AND PREVENT YOUR VOICE FROM CARRYING OVER A BIG ORCHESTRA IN A BIG THEATER. WHEN I WAS IN THE. METROPOLITAN OPERA SCHOOL BETWEEN 1958 AND 1963, EVERY FAMOUS SINGER I INTERVIEWED PINCHED THE NOSE CLOSED WHILE VOCALIZING. IT WAS AN ABSOLUTE LAW IN THOSE DAYS. CARUSO SAID IN HIS BOOK TO "NEVER SING INTO THE NASAL CAVITY". YOU WOULD HAVE ENJOYED FRANCO CORELLI'S MASTER CLASS WHEN HE STARTED RANTING AND RAVING AGAINST THE OPEN NOSE! I HOPE THIS HELPS. ALL THE BEST, MICHAEL T
@@Tenoretrimble wonderful information, thank you so much! 😁☺
🙋 *Promosm*
I don't know if you are familiar with Edward Johnson, but he and his students claim to teach "true Bel Canto". While he does teach many of the same things you teach (as well as a very helpful breathing excercize for the intercostal muscles), he does not teach the concept of pulling in the abdomen and breathing in your back. Instead, he teaches to breathe "diaphragmatically" in a way that naturally pushes the abdomen outwards, and keeps it that way during singing. For me personally, that is very ineffective, and I prefer your method much more. Maybe I'm missing something?