Melocchi Method: Powerful Chiaro-Scuro approach by Franco Tenelli
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- Опубліковано 22 сер 2024
- Method of a famous Italian Maestro Melocchi, teacher of Del Monaco and Corelli.
Histroric recordings of Maestro warming-up a famous tenor Limarilli with no covering, full chiaro-scuro approach.
![АЛАУДИНОВ у Скабеевой: эти их ВСУ нас НЕ ДОГОНЯТ 😁 [Пародия]](http://i.ytimg.com/vi/an0anqU4WGQ/mqdefault.jpg)
Covering the voice means that the singer learns to sing a strong, intense NG sound and then allows the vowel TO GROW OUT OF THAT NG without losing that connection. The NG resonates in the naso-pharynx. This NG is head voice, or "cover". The vowel, when it is allowed to rest on that connection of the NG, then adds the chest tone to the head tone (cover) and in doing so, blends the head and chest mechanism. This must be learned by male singers, otherwise their voices are always too open and spread and "chesty". Keeping the vowels in the shape of a rectangle with the mouth keeps this "cover" with the chest tone so that the chest tone doesn't overtake the voice and become ugly and spread. If a singer widens and spreads his mouth, that connection is lost. One has only to watch DelMonaco to see this rectangle shape. He always maintains this shape of his mouth. All the great singers of the past did as I describe. This gave them big, resonant, powerful voices that had great chiaroscuro. With all due respect, your demonstration, to my ears, sounds too spread. If you try what I suggest, your voice will gain in darkness, ring, power and steady vibrato. Sing AW, and NOT AH. The second...AH, spreads the voice, and loses the head tone covered NG connection.
Finally someone who.understand technique!
I think if a young singer gets away from the idea that there even is a chest voice and engages head resonance throughout, their range, they will find a point of maximum resonance, full and beautiful tone and a fully realized character of voice from top to bottom. But it does begin with proper support and I have to thank Franco for this instruction. Seek a connection between the diaphragm and this placement and when your in the zone you will know it. You voice will all of a sudden have a operatic character, you'll be able to sing 2-3 notes higher or more with ease and be able to sustain a tone twice to three times as long. The voice floats on the breath like a ping pong ball as Joan Sutherland said. Once you find this place, go to it often. Sing in it. Make it part of your daily experience.
Absolute nonsense. The tone does not float on the breath. Sound travels 1100 feet per second. Exhaled breath travels at 33 feet per second.
Maestro Tenelli,
A few years ago, one of my vocal coaches suggested the Melocchi method for me. We experimented with it, and it did work. Now that I'm at the ripe old age of 60, my voice seems to work only this way. It is uncomfortable for me to sing below F (below Middle C), however, I can still vocalize to High C and can sustain B natural. When I was younger, I was classified as a lyric spinto, now, my voice has gotten heavier, although there are examples of the heavier/baritonal sound in earlier/younger recordings of my singing. In fact, when I was very young, I began singing as a baritone. Now, I feel my voice has returned to that sound. I'd like to find some one to work with that can help me with this transition. I have sung opera professionally, mostly as a chorister with a few solo opportunities. Currently, I'm not singing professionally, but still want to sing for my own enjoyment and perhaps begin concertizing again. I no longer feel my voice is appropriate for chorus work because quite simply, I "stick out" too much, but I do feel that I still have something worthwhile to offer to the operatic art form. I live in Arizona, so are you aware of any teachers on the west coast that could help me. Even, some books that I could consult would help. Thank you for your videos. They have helped me to understand what is happening. Regards, Barry Stein
B.Appoggio technique teaches you exactly to use only one register.
Chiaro scuro register is born out of chest and can cover effortlessly 2 octaves of vocal range with the same tone(Caruso, Giacomini, Bjorling).
Historically singers first sang with only chest voice and head voice had secondary value. Later when singers faced more challenges because of virtuoso singing started using 2 registers(Chest/head) and only at the end of 19 century slowly learned how to sing with the same register again
TenelliVoiceGuru Dear Maestro, in deep respect, i do hear these singers' voices covering, but naturally, as the voice does if it is suppported throughout passogio. I feel your disapproval of covering comes from when people "over" cover whatbhappens naturally.
I hear a slight cover coming in. Though barely. The tone is very open but not quite "white". Oooh! Sounding shouting and strangled! Yikes! Open... Wow* but supported.
the phrase "like going to the bathroom" refers to keeping the diaphragm fully engaged while singing the higher notes!! this is the correct way of singing!
A. Sure Melocchi wanted one timber chest voice through out the voice range like E.Caruso sang in practice but he was not the first one: Dupre recommends to sing with chest voice through out the whole register(Voix sombre)
Singing only with chest was noted by ancient teachers and singers as phenomenal way of singing(Mancini) and the most beautiful in comparison to registral singing.
Melocchi's students were: Del Monaco, F.Corelli, Limarilli and from his school was also G.Giacomini.
TBC
Dear Maestro Tenelli,
For the little I know about Melocchi's technique is that is the one of the baritone Eugenio Giraldoni who was taught to Melocchi. So it is an "ottocentesco" technique like the ones of Cotogni and Rosati.
When we hear the old records of Del Monaco (1948-1951) we hear a more "lyrical" tenor than he would be in later years. In this case of chiaro scuro with open throat we could also include tenors like Braschi, Tucker, Pavarotti, etc....
Dear Maestro Tenelli, over the years, Melocchi's technique proves to be extremely counterproductive to the learning of singers. They spend a lot of time getting to control their own voice using the larynx lowered in this way, and they almost never do, almost no one becomes a good singer. Among Melocchi's own students, only two have had successful careers. Singers who use the lighter emission technique get ready for the stage in a much shorter time, acquire high notes more easily, and most importantly: the emission beauty is much better (it doesn't sound like the singer is screaming). As a matter of fact, today a tenor like Del Monaco would hardly be accepted by any opera company, due to the difficulty of adjusting microphones (yes, opera singers today are "amplified", with microphones hidden in their wigs) for the stage or on recordings.
I particularly lost years of my apprenticeship developing through laryngeal lowering. By lowering the larynx, a monstrously large voice is produced inside the head, which confuses the singer for years, even a lifetime. Singers are mesmerized by the apparent beauty caused by the sheer volume their voices produce inside their own heads, but they ignore that outside the sound is hardly superior and in some cases even inferior to a voice produced with proper technique, as was the voice of Franco Corelli, Gigli, Filipeschi and others (you can use a recording equipment to certify this). I found an interview with Corelli where he claims to have dropped out of classes with Melocchi because he realized that this technique would destroy his voice. He never denied the benefits of lowering the larynx, but in this interview he claims that he used his larynx in a floating way, lowering it when he needed volume, and climbing up to those mezzopianos and smorzandos he did wonderfully. Mario del Monaco, in his autobiographical book, stated that "with the technique (by Melocchi) he could not sing an entire aria, but that his exercises were good and put his voice in place". It is also worth remembering that, in 1941, the composer Umberto Giordano used his influence to remove Melocchi from the Rossini Liceu because he did not know how to teach. Melocchi replied that he was persecuted for preaching anti-fascist ideas, but Giordano did so because Melocchi was destroying, or at least significantly delaying, the vocal learning process of several young people (see details at antoniomarceno.webs.com/curiosit. htm)
It is important to understand that an opera singer has no commitment to singing fortissimo as was the voice of Tita Ruffo, or Del Monaco. The singer is committed to singing beautifully.
It is also necessary to demystify some misconceptions, such as "chest resonance", which never existed. It's just a "feel" that the singer has, when singing with the larynx down, that comes a vibration "from below". The lung is a sack of flesh full of fluids, there's no way there's any resonance in it. All voice vibration occurs from and above the vocal cords, with the largest resonator being the facial sinuses. The technique of lowering the larynx is like cocaine for singers, who are mesmerized by the booming voice produced inside their heads, but it prevents beautiful voices from prospering.
Obviously singing with the larynx stuck on top is also terrible, and I have seen modern singers who use a strange voice, no bass, no volume, which would benefit from correct use of the laryngeal lowering, but that does not mean that the larynx should remain bent down as Melocchi taught, which is totally counterproductive.
It' been a year a more, but anyway thank you for you comment, very interesting and informative.
This should be c/v on every stupid "This is opera" bullshit video
1) the link is not there. So, no way to check the factuality of your thesis or not. 2) Your quoting of Corelli misunderstands the reality of a naturally (vs. FORCED) lowered Larynx. A lowered larynx can ALSO be a 'floating' larynx. ALL great singers had lowered larynxes- contrary to Aurelbarre 95's stupid comment. The TIO videos blow the lid off of crap teaching, which has destroyed voices in the 30 years, and made crooners and tone swallowers into 'opera stars' - Just watch and listen, look at people's throats, and see the larynx almost to the breastbone of some of them! Give me a full voiced sound, anyway!
Melocchi erred in wanting to lift the chest voice to the heights. He was the contradiction in person. He taught put the voice on the hard palate through the vowel [u] and [e] for so (in the zone of passage) ask the students that do not put the voice in front ("no puntare la vocale").
Muy bueno Maestro, gracias por su esfuerzo de dar lo mejos de usted,
I'm pleased if you think so:)
First and foremost, "A professional like yourself" has established by my statement that I am amateur? If your pride has been injured receiving the comment "you are confused about Chiaroscuro the term", it tells me you are not a professional. You needed to just address the contents of my statement and let the ego dissolve as a "professional" would for the students that may be led by your words, its your responsibility. Now once again Chiaroscuro has been a term used to describe equilibrium in
thanks for this post
This is so F##!!$G....Hard!!!!
I am practicing with this exercise...I may not be a tenor but a Baritone....but practicing this help me to actually work on my abdominal LAZY MUSCLES....for....we can not let the cords open....and take a lot of work...
I love this!!!!!
Beautiful!
Melochi method is great for dramatic tenors.
Basically, EHC says that as the singer ascends the scale, there is a need to slightly, gradually, modify the various vowels, whereby, as one gets to the higher notes, the pure as spoken vowel is dispensed with. The sound column (of air) moves from resonating in the mouth/pharyx cavity, on the low and medium notes, to, on Eb, fouth line, the 'zone of resonance' starts to change to the head resonaters. EHC states that this is a physiological/accoustical law in operation with this. (continue at 3)
Splendid!
Up to the A okay but from Bb-C (starts at 11:20) an audible change to covered singing. The first note in the triad leading to Bb, an F#, is the first covered note and thus not fully Melocchi style.
Thank you for this informative post. Right on Christmas!
4) I'll contunue to look at your work on appogio. This contributes the this important and fascinating debate.
thanks for posting!
SORRY YOU ARE NOT A GOOD SINGER. PLEASE DO SOME THING ADHER
3) Therefore, there is a relationship between pitch, vowel (modification) and cord shortening, as the singing scale is ascended. The vowel modification encourages cord and resonator adjustment. He is at pains to point out that this modification is very gradual as you ascend, and that the Old Italian School model was the 'completely natural voice': this natural voice did and does the modification automatically. Please anybody correct me if I have misunderstood the work of EHC. (cont at 4 )
In quest’epoca esistevano tantissimi maestri di canto lirico che erano veramente bravi!
Melocchi non era da solo anzi mi sto chiedendo durante più di 60 anni :
- Quale sarebbero le voci di Del Monaco e Limarilli se i loro maestri erano Gigli,Lauri-Volpi o Partile ?!...
Corelli ha capito molto presto che la vera tecnica è quella di Lauri -Volpi.
Del Monaco era un Fenomeno !
Limarilli - aveva una bella voce del tenore lirico pieno .
Ma in quest’epoca chi erano i tenori che non avevano una voce bella ?!?!
Era l’epoca delle voci Meravigliose.
Da anni la commedia è finita e il mondo lirico è gremito delle vocine tipo zanzara...
il vecchio
Buen Día Maestro .
1) Dear FT. Thank you for your many videos. They are very interesting. I love your curiosity, enthusiasm and application of science and art. I'm not a performing singer, but I've started to vocalise, again, later in life (55 years) and am interested in the technique. I've recently re read Edgar Herbert-Caesari's book, which I read when I used to sing in my late teens/early twenties. There is a fascinating conversation going on between the two of you! (continued at 2)
It seems to me that you Mr. Tenelli, are able to negotiate the entire range more efficiently than Limarilli. Limarilli sounds like he is making a very wide opening in his throat and is bringing more chiaro than sciuro into his voice-and it sounds more difficult for him. Most of his upper notes are slightly flat. When I sing I yawn my throat open but not to the maximum because I cannot carry the amount of weight in my voice an extreme low larynx produces. Do you moderate your larynx position?
Maetro what is a Wide sound? You mention that you can get confused between open larynx sound and wide sound...
Aloha Mr. Tenelli, thank you again for your teaching. It has been very helpful.
Would you please let me know about a soprano who uses appoggio tech so that i can look her up from youtube. Thanks a million!!!!
I understood from this explanation that the problem is not about covering or not covering the notes. Every singer with a 'non-white' voice naturelly cover his/her voice after the passaggio. It's easily proven: start singing from dó (C) closer to the passaggio (that happens at E or F or F# for tenors). Go with open latin "A", but very soft and low volume. One note per breath. Keep going: C#, D, D#, E, F, F#, up to G or G#. REMEMBER: very low volume. You will feel an irresistable necessity to cover your voice. Every singer covers the voice after the passaggio. What Mr.Tenelli (I guess) wants to say is: do not try to cover what is already covered. Do not "dark" your voice, covering more than the voice covers naturally. Voice needs space to go out. It finds many points of impedance that try to avoid it escapes freely (teeth, tongue, lips...). When the singer covers what is already covered, he/she increases this impedance. The column of air pushing against such increased impedance stresses the vocal cords, that doesn't support such huge pressure, and crashes. I hope to had helped.
Your notion is absolutely correct. I've seen this happen in front of me, many of the bigger voices don't need to be taught to 'cover' or as Arrigo Pola and my teacher as well would call it: going to the soft palate. The instruction always changes from person to person, even if you are teaching everyone the same technique. Some singers naturally go into required muscular condition for the high voice, which is based on the cry mechanism. Other singers need to be taught to do this. It changes from singer to singer, some need more help on the higher tessitura, some need more help with the middle voice. Covering doesn't refer to darkening the voice, the point is to turn the voice.
What is chiaroscuro in simple words? Where can I find a definition? What is chiaro? And what is a scuro?
tenor's passagio usually starts at D, E and higher I call it an acute passagio zone. I see passagio not in terms of the register but zone of connection
It sounds as if in your demonstration in the low register you maintain a medium low position of your larynx and a more oo vowel inside the throat. He requests the deepest position with more ah in the throat. As you ascend it does turn more into open throat singing. Just a comment.
and it sound very similar to Mario DelMonaco's voice:)
But Del Monaco in general avoided scooping.
Sure, appoggio technique is evolving one and larinx position with time may change. Singer should use the larinx position he can support, no doubt
Thank you. If by moderating you mean managing stable larinx, then yes, but not through just yawn but appoggio
Most teachers that I have had yet always wanted me to sing lyric repertoire like even Elisir, which I could do but it would exhaust me and never made me feel comfortable. In general I could always sing to an A4. Anything above that is somewhat of an issue. I would say that B4 flat is not that much of an issue. I have vocalised up to a High D5. But But I wont say that its an everyday feat. It has happened. But its in no mean easy. But an F2 is easy.
Greetings maestro and thanks again for another great video!!! I wanted to ask you a question I feel that your primo passagio is at around Bb is that correct??? Or am I not hearing right. On my voice I also feel that, that is where I need to support more.
🙏❤️🙏❤️
I think it's "D", only Basses have their primo passagio at Bb, but evry case is individual
Спасибо, маэстро. В вашем голосе слышится меньше напряжения, чем у Лимарилли. Такое ощущение, что он был зажат и боялся сорваться.
Комменту 8 лет... Но, во-иситну, улыбнуло)))) "Ощущение" у него сложилось... Ценитель блин. Лималлири засандил вверх на опоре, с "выходом", полноценные ноты, с полностью выровненным переходом, с крепким участком "до перехода", с полноценном верхом после "перехода"... А ему зажато "показалось"... Тебе никогда даже не приблизиться и близко к звуку, который мы все услышали в этом видосе, якобы, у Лимарилли...
@@Arsen738 да что ты. А то что он потерял быстро голос и имел проблемы с верхами, это мы не учитываем. Я даже в Аиде это слышал.У Дель Монако был свободный верх, но он и адаптировал метод мелокки под свои возможности.
Ciao Maestro Tenelli! One question- Is it a commonplace occurrence for a tenor to have a passagio point on E? Peace Xx
besides recording of Melocchi's warm-ups is so bad and distorted, that strangly give the recordings a little bit of an artificial quillo. Record yourself with a sellphone and you will understand what do I mean
Maestro though don't you also have in your voice the baritone range? I think on one of your videos you go to F2 etc. So is this a Dramatic Tenor trait or does it just happen to a few??? I heard your interpretation of Jago and its good!
Heard Corelli in an interview with Jerome Hines sing D#2, he was 69, and a D#2 with some substance, so its not a rule.
@@UrosKovacevic91I'm a high tenor and I can produce bass notes too.
Melocchi did not teach Corelli, Corelli just attended ver few lessons with him and he learned the method from a friend who actually took lessons with Melocchi, Di Volpi was the one who taught Corelli the most and that is where his great squillo came from :) see video "Corelli talks about Lauri-Volpi"
He said it...
The description of your voice is similar to my vocal characteristics. I started with low baritone repertoire, but now the low register doesn't even really exist. I take it on my age, I'm 23 (I'll be 24 in a few months), and it'll establish in a few years. I, sometimes, try fragments of dramatic tenor arias, but just to verify the high register. I just think it's risky without assistance
Yes I do. but not evry true dramatic tenor has super low range.
When my father, liric tenor, checked out his chords, laringologist was surprise why tenor has such long bass vocal chords.
real power of my voice lies when I'm singing a tenor range
I mean taking a floating position- a middle position-not all the way
down.(as Corelli was supposed to have done)- not all the way down.
Yes-apogio always. I can make my voice sound very dramatic if I assume a
very low larynx position-but I cannot sustain it- so I have found a medium
position which I can sustain. Limarelli sounds bigger and more dramatic in
the voice lesson than he does in some of his recordings.
It difficult to comment on my own singing:) to compare what I hear myslef from the recording, I just use real Ah insted of modified Ah. Round quality of the limarilli is achieved not because his larinx in the deepest position, but becaus he modifies Ah to almost OO. I disagree with the statement: "as you ascend only then it turns into an open throat singing"
Dear, Maestro! Do you gave a skype lessons?
Vocal tone, the done has depth and definition. How and why do you label Melocchi teaching the "Chiaroscuro technique" if anything its the Scuro technique. And a note on the cover, when the integrity of the vocale is kept but sang towards the "sbadiglio" as Melocchi would often say, the voice covers itself. Del Monaco did cover, but perhaps your meaning of cover is the "cupo" ...the vowel modification style and not allowing the vowel to modify. From the Limarilli lesson you cannot establish the
That's strange but possible:). Remember appoggio singer doesn't have registers, only zones when he(she) should support in order to avoide register switch. Since you trust your sensations, use it as a tool helping you in understanding your unique voice
I feel mine at around B flat and a little over at times, the next problem for me is I think my E natural. However when I approach them right I have no problem going all the way up to a B4 and even C5. My range starts from around F2 or maybe even a little lower. But my timber is not that of a bass. Or even a baritone, its really borderline. Very complicated. I starting attempting heavier tenor rep and higher baritone rep, I feel more comfortable with e.g Otello than Germont.
technique as he is in Chest development training phase . The sound is incomplete and can be misinterpreted, there is not enough falsetto coordination in the sound. Have a listen to the complete lesson and listen to how Melocchi demonstrates the passaggio.
Totally covered at 12:16, then opened.
I feel like it too, but that again happends when I go above F#. As if my passaggio would ly between B flat and F sharp. It's so confusing
Well I am near 30, and I feel that I am more comfortable with the heavier tenor rep, however I am not yet certain about the real timbre of my voice, it could go any way I think.But the low range was and is there, I have easier low notes than a friend who is a lyric baritone, but my higher area is more ringing than his(but not stable). Very confusing ...
9:25 AH Franko Tenelli
5:38 Ah as OO with Limarilli
compare again:)
1:55 🤯🤯🤯🤯🤯
appoggio ed acuto
ua-cam.com/video/xDclAQ55CXk/v-deo.html
Parla FRANCO CORELLI !
Omaggio a Franco Corelli, mitico tenore italiano, alla Scala di Milano.
Lunedi 15 Ottobre 2001 ore 17:00 Ridotto dei Palchi del Teatro alla Scala
Scusi at 11:35-37
12 : 00 😱🤯🤯🤯🤯🤯🤯🤯🤯🤯🤯🤯🤯🤯🤯🤯🤯
I know the feeling. But you should really go to a teacher, or even a maestro, so you'll be directed to a narrowed path. I'm curious how high you can sing and if it's with ease. I know tenors who can go even lower than many baritones but they are still tenors. Curious fact
Maestro Tenelli can agree with Melocchi with respect to employ only the chest voice to the full vocal range, but your approach (appoggio, chiaroschuro) is different and better! This is because the resonance zone that your technique works is greater, covering the hard palate, soft palate and the “mask”. The appoggio taught by Melocchi it is only through the hard palate, which is exactly the area of the chest voice resonance....
You must admit your vibrato is very wide here. Hard to imagine that did not eventually result in a frank wobble.
LISTEN to GEORGES THILL, the FRENCH CARUSO
CHIARO SCURO IS A TERM USED IN DESCRIBING PAINTINGS, NOT VOCAL TERMS.!
caro riccardo, hai proprio ragione: schtrilla proprio!!! E poi cambia posizione ogni suono. mah! Melocchi si rigira nella tomba dal fa fino al do!!!
WHY DO YOU HAVE ACOPY OF THE BOOK BY THE WELL KNOWM BARITONE CARUSO WHEN ASKED HOW HE GOT TOP NOTES HE SAID I PUSH LIKE GOING TO TOILET NO MENTION OF THIS IN ANY OF YOUR VIDEOSHE NEVER UNDERSTOOD THE PASSAGIO HOW DID HE BECOME THE GREATEST
Sorry this, is,MARIO.
WAY too much tension in Limarelli's voice, causing his highs to be very flat. Sounds like he's going to burst all the veins in his throat!
😂😂😂
Caro signor Tenelli,
mi dispiace che devo dire questo, pero i suoi acuti non sono sani. Questa technica non va bene per lei. Pecato che con questa technica sono distrutti tanti cantanti. Non e vero che Delmonaco cantava quel metodo. lui cantava sua technica, mista, e per il metodo Melochi solo parlava e ha distrutto tanti tenori il fratello di Mario. Queste lezzioni sono molto pericolosi per la gente che non capisce niente, penso per i giovani cantanti. Scusi che l ho messo il mio oppinione sul YT.
rotenmau tu fai bene a dire queste cose perche' i giovani che iniziano a cantare e sentono queste cose ( stronzate), sicuramente non canteranno, purtroppo ci sono cantanti famosi che la gente idiota osanna,es kaufmann che canta iNgolato e siccome canta nei teaTRI FAMOSI un giovane puo pensare che il suo e il modo corretto,quindi fai bene a dire queste cose. e ilo sig. tenelli si deve scusare per le stronzate che dice
Strained high notes. Thin, tight edgy. Awful
Bro .... He is not a DRAMATIC .....
C5 whaaaaaat ....
That's impressive ....
And he is not young ....
Sorry, but your high notes are laughable. I use this as an example to show my students why you must cover.
Melocchi era tutto fuorchè un maestro. del Monaco stesso diffidava di lui ma lo scelse come male minore. le tecniche di melocchi non stanno nè in cielo nè in terra e nulla hanno a che fare col belcanto e l'appoggio ma si basano sull'affondo. Egli non fu mai cantante e mai lo furono i suoi allievi a parte del Monaco che applicava il suo metodo solo parzialmente. Queste sono parole di del monaco stesso.