Michael Trimble Vocal Method: Maintaining Appoggio-A Divine Puzzle ll
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- Опубліковано 22 сер 2024
- trimblevocalinstitute.com
Fundamentals of Great Vocal Technique:
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Internationally renowned Tenor and Master Voice Teacher, Michael Trimble. 62 years of expertise/performing, teaching and Artist training/acclaimed vocal pedagogue. Career building, vocal literature for aspiring students and experienced professionals.
That's a teacher
Thank you for these lessons! You're amazing.
Thanks Michael, I will watch this as soon as I get home.
Always grateful for your uploads❤️
I really love your teaching! Thank you for sharing your wealth of knowledge, skill, wisdom and your beautiful voice❤
Thank you so much for the priceless information Mr. Trimble
I unterstand and learn so much from you , thank you a lot!!!!
you are awesome! Thank you for being generous to share this information. This is the ONLY WAY for me to sing.
I've become aware of the war between those who want open cords (with no hint of breath stop) and those who like the breath stop. I really do prefer it as I feel so much, "ok, now I have the basic feeling of lean/appoggio for every new phrase (and I don't have to resort to teaching as God bless her M. Caballe did with the infamous vid of her display of how to engage the body before you begin to sing.) She pushed so hard up into the young ladies epigastrium it was amazing. Love her singing obviously but just a personal view there....Love your videos Michael!
Simply Brilliant!
Grazie❤️🙏
Thank you so much sir
It is wonderful that you can sing at eighty and so well! Bravo!
That being said, still, it sounds very muscled. I imagine at a younger age it sounded much easier. The difficulty, in my opinion, for all singers, is in using the diaphragm as a flexible not tight muscle for the breath. Many singers go to muscle and it takes away beauty of sound as the sound doesn't hit the overtones, when there is tightening of the diaphragm. Your voice sounds very German, not Italian in the least and I am not writing to criticize you but the use of "appoggio" is such a delicate balance and the "lean", in my opinion needs to be a response to the right breath. The right breath, creates the "box". Now how to be aware of the box on the exhale so that it does not drop, is the question. I struggled for years, regarding exactly this.
❤❤❤
Tahnk you Michael !! I am back on business!!! i already forget the bloody idiot who led me in the wall.... Bflat easy again !
So brilliant
Great teaching sir
Is this Tetrazzini lean compatible with an Inalare la voce support method? I always sang with a "lead ladder" until I found my new teachers (students of F. Dahlberg) and they recommended the Inalare method. It seems fine for big rep (she sang Brunnhilde and Turandot everywhere), but I don't feel as obvious or direct a "lean" with the Inalare method, it seems more relaxed overall. I still am making very large noises, larger than when I had a "heavy ladder", though I was very tense and constricted during those days. Are these two sides of the same Appoggio coin?
1:53 wow
Thank you for another great video. I'm wondering, would you also recommend these techniques for singers in contemporary pop music?
How does this translate into these softer genres as they use a lot of head and mixed voice? Does this require a softer lean?
I just started with this breathing and appoggio concept, so a long journey ahead! :)
Thanks for this. It is unclear to me - are the books and other objects just symbolic representations of "weight" - or is holding a weight in front of me a practical exercise, a way to change the sensation of lean?
Hmm..... so I still need a little advice. Am I visualising the breath coming up from the lower back and leaning like a ladder on my front lower ribs area OR am I visualising it leaning on my diaphragm ????
thanks for another great video mr trimble!... i find that the heavier lean i use, the easier it is to maintain the lean through a long phrase.. if i use a light lean (or ladder)... i have difficulty holding the ladder up in full control and therefore become pitchy and no good..but i think this may just be due to having only recently learned the lean... also cant seem to get past G4 with it yet .. any thoughts?
Mike, is the lean synonymous with vocal fold compression? It seems like more lean, more fold compression. Does one affect the other? Is this correct? Thank you. Bob
@@Tenoretrimble thanks... You are making things simple...
Hi, Michael!
What about dramatic voices with thick, heavy vocal chords?
Wouldn't such voices automatically require a more intense, dynamic lean, (and hence, great stamina)?
Baci, Rebecca
one question, why do you breathe in with nose to start in demonstration rather than mouth? Can you breathe thru mouth instead when performing ?
Sir should I breath deeply when the high notes come?
Michael, at minute 21 roughly you mention being strapped in, etc. and I've recently used a singing belt, set at the appro. tautness, (it is situated on rib bone only, on lower sternum and around back) and I have almost immediately noticed a very pos. result. I can feel an outward firmness in my ribcage, and this feeling has steadied my voice immeasurably ... I'm wondering if there is a pos principle here that I'm now employing. I"m assuming this is good, but perhaps not; looking forward to your reaction....many thanks....
@@Tenoretrimble Thanks so much Michael. I follow what you are saying. And I have felt great breathing behind and singing up front. I believe I understand the lean concept as well. Maybe a better way to summarize what I was trying to accomplish with the belt idea is to find whatever expansion is naturally found by the back breath, then set the tautness of the belt at that 'open rib' position and resist the urge to collapse ribs prematurely, but letting them pull together in back, your 'turkey baster' concept..... The feeling I'm getting in the ribcage is not constriction but the intercostals strengthening themselves by a sort of resistance outward against the force of the 'collapse' force....hard to explain. The overall effect I've felt is more participation with the intercostals.....Thanks again for your tireless dedication to help others!!!!
Please forgive my confusion, but in one section you advocate for “nothing moves unless the breath moves it” and then you go onto say you pull in the lower abs while inhaling. What am I missing?
@@aarontenor I think Mr Trimble was referring to the neck jaw and throat area
Hey miguel here, I commented on another video and I have another question. Whenever I feel like I "lean" forward (e.g towards the sternum) I feel like I am pushing air more than *leaning* it. I feel like the air leans and hits my vocal chords causing a crack. I feel more comfortable thinking of breath and resonance going behind me? Is this wrong and id so what do I do instead.
Estimado profesor, usted sabra un " Caruso"; pero es tanto lo que mezcla todo...y esS " escalas" que ya no aguanto mas: repetitivas e insoportables" que su sapiencia se reduce a un bla, bla, bla
Por otra parte su " arrogancia" de - como no van a poder, esto tan facil...para usted, claro ; hace la clase aun mas " insoportable".
Se que lo hace con la mejor voluntad; no lo consigue lamentablemente.
La " humildd" es la gran sabiduría
...
Nos somos malos cantantes, mediocres, vulgares etc etc y por ello recurrimos a usted; pero por favor no mas " escalas" insoportables, gracias