Thank you so much. I am starting from zero, though i was trained in belcanto, sing professionally. I recieved a fusion of appogio with placement approach. Now, i have been reworking my voice for three years, and feel so blessed to have found you. Graci Maestro! ♡♡♡
I honestly think the most important thing is the demo. Regardless of what Tennelli says about technique, he definitely lets the vowel modify, makes use of falsetto in his placement of high notes and other contradictions too I shouldn't wonder. I'm not saying he's wrong about chiaroscuro, but using falsetto is definitely useful in practice to strengthen the CT muscles. What I think Tennelli refers to with chiaroscuro is the active involvement of more CT action from the lower notes, so that when you get to the top you're not suddenly switching muscle groups (from the TA muscles) . The way it feels to me is that when you sing in this way, with a low larynx and "twang", you get a powerful but "hollow" feeling sound which you can then take to the top of your range.
it's true! and it's true because we don't support our consonants appoggio way. The moment singer masters his appoggio articulation it becomes easier to sing arias the scales
pushing down the diaphragm may cause tension in the throat(Parallel tension effect), but the reason we push down is exactly opposite:to reduce tension in the throat. Solution: Appoggio articulation. Check out my videos with articulation tags
Interesting. It happened to me. I was convinced my range ended in Bb4 yet I was singing a song and found out that one note I was actually hitting in it was a C5!
This video is incredibly helpful to beginners! Everything he talks about, specially the self-confidence, I have experienced first hand. It is indeed very psychological
No I don't have a special video about it, but I talk about shape of the mouth calling it a second placement(apart from natural) Mouth should preferably be as round as possible, all the consonants put forward(don't confuse it with sound put forward which is incorrect)
Большое уважение Ведерникову как певцу. После вашего коммента я прослушал его лекцию и скажу что основные принципы у него абсолютно верны. Хоть он по старинке делит голос на регистры но основной подход правильный. Пение на гласных "у" "и" "е" это у него от Барры(мой первый педагог занимался с Баррой). Путает открытое горло с открытыми связками что в корне не верно(сдесь очевидно Б. говорит об ощущениях а не о реальном действии).
@oiuyuioiuyuio Corelli actually fix his fast vibrato called "Caprino"(fast vibrato) and later in his career sang with less vibrato range. Vibrato is a part of technique and if the singer cobsciously controls his breath(support) s(h)e can change it. Great majority of pro singers don't consciously control breath, therefore they will not be able to change it unless they change basic technique
At 17:42... you admit E is hard vowel and Pavarotti changes it. Is it covering to change the vowel, meaning apoggio should allow for the pure vowel instead?
I was taught to cover, but the danger is, if it doesn't result from strong appogio, the danger is that if you make this colori without the proper support. Also, over covering tightens, and weighs down, muffles the tone. Now i must jjust work.on support, support, support, support, open throat and resonate naturally.
Thank you for this video, Franco! The very least I can say is that your advice resonates with me a lot. Although as you suggested, I'm definitely going to have to go back to square one with the appoggio technique. It's really hard to refrain from singing opera when it's what one enjoys most, but I know I ought to understand appoggio from a more basic level with some lighter rep. I'll get back to you when I feel like I've had some success developping the technique.
Вообще у басов техника апподжио получается легче и они редко делят регистры в отличие от Теноров. То что получается естественно у басов тенора должны брать техникой; и если техника разделяет на регистры то и поют регистрами а если техника позволяет(апподжио) то и высокие голоса перестают петь регистрами, но это физически труднее для высоких голосов чем для басов
You're freakin' amazing Maestro Tenelli!!!:) I've seen Ur videos 4 quite a while now & have told many singers about U in NY;) I've always thought that Ur technique & understanding of the voice is absolutely correct! I'm a heavier tenor voice who've @times given up & just sung Baritone, especially Verdi Baritone Arias, because no 1 seems 2 know how 2 train my instrument:( Gotta tell U, I've been watchin' a few of Ur videos here & my voice has just released itself 2 how it's supposed 2 B:) Thank U
I wish I was a tenor but I’m not 😢 Tenor voice is not a voice it’s a disease I saw that in an old movie lol Thanks Maestro Ps your guitar is beautiful you are special my friend ❤
Maestro, can you comment on the lingual reaction of the tongue? I know most voice teachers (mediocre ones) say to keep it flat in the mouth behind bottom teeth, but if you watch closely ANY of the technical masters (bjorling, pavarotti, kaufmann, corelli), the tongue is at rest the middle of their mouth, like yours in this video in all of your high notes. Is this a conscious decision, or do you simply not think about it and "allow" it to take place as your body's own physical reaction? I have heard several respected teachers in NYC discuss developing a "position" of an open and relaxed mouth with a high tongue position to accentuate the "reversed megaphone" effect. Domingo is an extreme of this example of course, and I am not referencing him. I think he went a little too far with this concept...
You are the 2nd person I have EVER hear use the term "Cario" "Scuro" and that was here in Dallas Tx. This all makes PERFECT sense since I am probably a dramatic tenor. My one problem in 'Nessun Dorma' is the line 'il tuo boca' the high A and the final B nat. can you help?
Mr. Tenelli- Ok. I have mastered all the steps before this video, but i still cant figure out how to go high. when i try to go high i feel my abdomen and my back tensing up, i know that is good but to go high i push my abdomen in which moves the diaphram up, but you say the diaphram has tomove down. how is that?
Hi maestro Tenelli, can you tell me how can we strengthen the diaphragm for singing high notes or long phrases? Are there any physical excercises or breathing excercises that help? Or vocal excercises are the most important?
Mente controlla tutto e tutti sono diversi. Se mi avete sentito bene, non mi diffondo un'altra teoria inutile, questa è la scienza del canto. se non funziona per voi va bene, altri hanno bisogno di it.We sono tutti diversi
maestro,is this high note technique different for the lyric or leggiero tenor? are leggiero tenors use appoggio too or they use some different register? like william matteuzi,juan diego,etc
maestro i love the sound of your high notes! but Id love it even more if your vibrato was faster! I love really fast vibratos like Corelli's in Nessun dorma, it sounds epic! Do opera singers have control over their vibrato speed? Or is it difficult to train?
To “control” you vibrato is one of the most dangerous things you can do to your voice. Vibrato is an inherent quality of the voice when properly supported.
Maestro why is it that its much easier to sing high notes while singing scales and its much more challenging to sing it in arias. Generally it is very hard to stay in high part of the voice while singing arias and not so hard during scales.
if i have a belcanto teacher that teaches me covering up technique and after like 4-5 years i get pretty good at it and then i come to you , will i be able to make some diference discovering true appoggio?
Mente controlla tutto e tutti è diverso. Se mi avete sentito bene, non mi diffondo un'altra teoria inutile, questa è la scienza del canto. se desn't funziona per voi va bene, altri hanno bisogno di it.We sono tutti diversi
Mr. Tenelli thanks for this great advices. I have a question, there are some college partners and voice teachers that say that is needed to press the stomach inside when one is reaching the high notes. It this is true?! I tried to do that, but it is quite difficult, I breath trying to expand all my core and mantaining it until I end a phrase, but I dont push the stomach inside. Thanks!
you are doing it right way, dont push your stomach in. If you think about it logically, once you push your stomach in, all the internal organs will push on diaphragm and you will get more pressure on your cords, while it might help you to reach the high notes, it will sound like yelling and sooner or later it will destroy your voice. Expand and maintain it, expand even more on high notes, pressure will come from lower abdominal's naturally.
XneoclassicaloverX No problem, as you are having doubts and problems with support mechanism let me explain better how to do it. First i tell you why i think push out school is superior to push in school. First reason is that physics approve it, when you are maintaining expansion your diaphragm remains tense because all the abdominal and side abdominal muscles are connected to diaphragm and while you cant consciously feel diaphragm you can control it by muscles that attach to it and also we can feel. also when your expanded by laws of physics it takes pressure off of your larynx and you can sing freely. Second because all the famous singers that i like have done it this way, from Caruso to Gigli to Milnes, Horne, Sutherland, Pavarotti(who often talked about taking deep breath and keeping it till the very end of the phrase). I know they have done it this way not because i can hear it on record but because i have read their books and have seen their interviews. Now despite of all the instruction we might read or hear online or from private teacher it is still damn hard to use it properly and reliably. How i would teach it is following: first of all relax everything above your solar plexus, then take breath in your lower back as low as you can, this should expand your back, sides of abdomen and belly itself above navel, keep in mind that muscles bellow navel are for providing pressure and they should not go out, they should stay in no matter how deep breath your take(also dont try to over expand by taking enormous breath, it won't help, it will only make you rigid, take as much as you feel you need for phrase). Okey so you have 360 expansion in the region from solar plexus to navel and pelvic muscles are still in, now comes in support part. You want to maintain this posture for as long as you sing. Best way to do it to introduce little bit of tension in abdominal muscles, just a little bit though don't get rigid and dont tense everything up, just a little bit of tension is enough to maintain expansion. Consider that these abdominal muscles might be weak if you have not used them before, so be patient and train them. also once you got this support mechanism down make sure to sing with your vocal cords closed, because support won't matter if your cords are not closing fully. To do that, you need to use your mask resonance. To find it put letter "n" in front of the word's and sing it that way and you will understand what i am talking about, if you are young using nasal resonance could also focus your voice. so its basically three steps, breath, support and resonance. Best of luck with your training.
zura iashvili you are definitely an thorough and insightful expert in this. Thank you so much for explaining this. I found it by myself after about half a year trial and error. The expansion way is so effective. Yet the sensation is so different. It's like learning singing and even talking all over again.
It’s strange how voices speaking don’t reflect power of singing voice a lot of the time Pavarotti sounds spoken rich and powerful more than Tenelli but opposite is true This guy is much more powerful 200 percent
Five to seven years is true it sounds easy but it’s a climb up mount everest but no talent pop singer makes a fortune overnight and are called performance artists
if your voice is healthy and has not been shaken by alcohol or cigarettes sure you can start and have fantastic singing voice. While it might be hard to get a job in opera house, it is still worth to do it for sheer joy of singing well. Pelvic floor muscles and lower abdominal muscles are ones that provide pressure to fuel singing, while they might be weakened, you can always strengthen them by regular exercise. Most of the students have weak abdominal muscles when they start but they end up with rock like muscles after years of training.
I just really love classical singing my father was an opera singer I am a mezzo soprano with three octaves I have had some lessons with a bel canto teacher but she returned to Italy. I have intermittently had some problems with voice loss which began with a viral laryngitis upon examination by an ENT nothing his advice vocal coaching. However I found even after periods of rest when I resumed singing again I would have to take it easy other wise hoarseness would return so I am being my own doctor watching as many singing programmes as possible and trying different things a lot of vocal rest I am currently looking for a new vocal coach and even though I am experiencing these difficulties I keep going because I just love too much to give up zura iashvili
leanne gielens Also I have began to use the arpeggio breathing and I am finding not only is this tiring but it hurts in the lower back a bit to the muscles do they strengthen with practice and is it normal to need less support for the higher notes and more for the lower notes
leanne gielens arpeggio is type of broken chord, you probably mean appoggio. In any case you need more support for higher notes and for singing piano, lower notes are easier. higher notes require less air with higher breath pressure and higher breath pressure requires more support. It should not hurt thought, be sure not to over tighten abdominal and lower back muscles, very little bit of it enough, just a little bit, rigidity won't help you support, actually it will prevent you from supporting properly. If you use support properly you will never be hoarse again.
You are truly heaven sent. Thank you for your graciousness and generosity Mr. Tenelli. Grazie mille!!!
Thank you so much. I am starting from zero, though i was trained in belcanto, sing professionally. I recieved a fusion of appogio with placement approach. Now, i have been reworking my voice for three years, and feel so blessed to have found you. Graci Maestro! ♡♡♡
I honestly think the most important thing is the demo. Regardless of what Tennelli says about technique, he definitely lets the vowel modify, makes use of falsetto in his placement of high notes and other contradictions too I shouldn't wonder. I'm not saying he's wrong about chiaroscuro, but using falsetto is definitely useful in practice to strengthen the CT muscles.
What I think Tennelli refers to with chiaroscuro is the active involvement of more CT action from the lower notes, so that when you get to the top you're not suddenly switching muscle groups (from the TA muscles) . The way it feels to me is that when you sing in this way, with a low larynx and "twang", you get a powerful but "hollow" feeling sound which you can then take to the top of your range.
I believe you are very confused.
if only this info existed when I first started to have lessons
most teachers I went to had no knowledge of what you teach
Thank you. It's an invaluable lesson and it's the best I have learnt so far from UA-cam.
This is wonderful to know, it gives me hope after I master the other equally important earlier steps.
it's true! and it's true because we don't support our consonants appoggio way.
The moment singer masters his appoggio articulation it becomes easier to sing arias the scales
pushing down the diaphragm may cause tension in the throat(Parallel tension effect), but the reason we push down is exactly opposite:to reduce tension in the throat. Solution: Appoggio articulation.
Check out my videos with articulation tags
Interesting. It happened to me. I was convinced my range ended in Bb4 yet I was singing a song and found out that one note I was actually hitting in it was a C5!
Does an accountant really need the High C?
Who cares it’s of little value if you don’t sound good
This video is incredibly helpful to beginners! Everything he talks about, specially the self-confidence, I have experienced first hand.
It is indeed very psychological
No I don't have a special video about it, but I talk about shape of the mouth calling it a second placement(apart from natural)
Mouth should preferably be as round as possible, all the consonants put forward(don't confuse it with sound put forward which is incorrect)
Thank You, excellent work. Great explanations.
Большое уважение Ведерникову как певцу. После вашего коммента я прослушал его лекцию и скажу что основные принципы у него абсолютно верны. Хоть он по старинке делит голос на регистры но основной подход правильный. Пение на гласных "у" "и" "е" это у него от Барры(мой первый педагог занимался с Баррой). Путает открытое горло с открытыми связками что в корне не верно(сдесь очевидно Б. говорит об ощущениях а не о реальном действии).
It is not usual to show techniques of learning, they are very interesting and useful. Thank you
@oiuyuioiuyuio Corelli actually fix his fast vibrato called "Caprino"(fast vibrato) and later in his career sang with less vibrato range.
Vibrato is a part of technique and if the singer cobsciously controls his breath(support) s(h)e can change it.
Great majority of pro singers don't consciously control breath, therefore they will not be able to change it unless they change basic technique
At 17:42... you admit E is hard vowel and Pavarotti changes it. Is it covering to change the vowel, meaning apoggio should allow for the pure vowel instead?
I was taught to cover, but the danger is, if it doesn't result from strong appogio, the danger is that if you make this colori without the proper support. Also, over covering tightens, and weighs down, muffles the tone. Now i must jjust work.on support, support, support, support, open throat and resonate naturally.
Thank you for this video, Franco! The very least I can say is that your advice resonates with me a lot. Although as you suggested, I'm definitely going to have to go back to square one with the appoggio technique. It's really hard to refrain from singing opera when it's what one enjoys most, but I know I ought to understand appoggio from a more basic level with some lighter rep. I'll get back to you when I feel like I've had some success developping the technique.
You're high notes, Mr. Tenelli, sound better at the very end and a good example is the B flat from 'Celeste Aida' - it's like a roaring. Nice one!
I am totally agree with maestro!!! Thank you for video!
What happened to maestro Tenelli??
Вообще у басов техника апподжио получается легче и они редко делят регистры в отличие от Теноров. То что получается естественно у басов тенора должны брать техникой; и если техника разделяет на регистры то и поют регистрами а если техника позволяет(апподжио) то и высокие голоса перестают петь регистрами, но это физически труднее для высоких голосов чем для басов
You're freakin' amazing Maestro Tenelli!!!:) I've seen Ur videos 4 quite a while now & have told many singers about U in NY;) I've always thought that Ur technique & understanding of the voice is absolutely correct! I'm a heavier tenor voice who've @times given up & just sung Baritone, especially Verdi Baritone Arias, because no 1 seems 2 know how 2 train my instrument:( Gotta tell U, I've been watchin' a few of Ur videos here & my voice has just released itself 2 how it's supposed 2 B:) Thank U
I wish I was a tenor but I’m not 😢
Tenor voice is not a voice it’s a disease
I saw that in an old movie lol
Thanks Maestro
Ps your guitar is beautiful you are special my friend ❤
Thank you.
thank you very much maestro ,all of your video always help me up and easier to sing :D
you are welcome:)
Maestro, can you comment on the lingual reaction of the tongue? I know most voice teachers (mediocre ones) say to keep it flat in the mouth behind bottom teeth, but if you watch closely ANY of the technical masters (bjorling, pavarotti, kaufmann, corelli), the tongue is at rest the middle of their mouth, like yours in this video in all of your high notes. Is this a conscious decision, or do you simply not think about it and "allow" it to take place as your body's own physical reaction? I have heard several respected teachers in NYC discuss developing a "position" of an open and relaxed mouth with a high tongue position to accentuate the "reversed megaphone" effect. Domingo is an extreme of this example of course, and I am not referencing him. I think he went a little too far with this concept...
You are the 2nd person I have EVER hear use the term "Cario" "Scuro" and that was here in Dallas Tx. This all makes PERFECT sense since I am probably a dramatic tenor. My one problem in 'Nessun Dorma' is the line 'il tuo boca' the high A and the final B nat. can you help?
Fantastic stuff
Thank you. This is great information. I wish I could sing like you can. If I could reach a "g" note I would be so happy. F# and I'm at the ceiling.
Mr. Tenelli- Ok. I have mastered all the steps before this video, but i still cant figure out how to go high. when i try to go high i feel my abdomen and my back tensing up, i know that is good but to go high i push my abdomen in which moves the diaphram up, but you say the diaphram has tomove down. how is that?
Hi maestro Tenelli, can you tell me how can we strengthen the diaphragm for singing high notes or long phrases? Are there any physical excercises or breathing excercises that help? Or vocal excercises are the most important?
Thanks so much Franco
Mente controlla tutto e tutti sono diversi.
Se mi avete sentito bene, non mi diffondo un'altra teoria inutile, questa è la scienza del canto. se non funziona per voi va bene, altri hanno bisogno di it.We sono tutti diversi
maestro,is this high note technique different for the lyric or leggiero tenor? are leggiero tenors use appoggio too or they use some different register? like william matteuzi,juan diego,etc
maestro i love the sound of your high notes! but Id love it even more if your vibrato was faster! I love really fast vibratos like Corelli's in Nessun dorma, it sounds epic! Do opera singers have control over their vibrato speed? Or is it difficult to train?
To “control” you vibrato is one of the most dangerous things you can do to your voice. Vibrato is an inherent quality of the voice when properly supported.
Maestro why is it that its much easier to sing high notes while singing scales and its much more challenging to sing it in arias. Generally it is very hard to stay in high part of the voice while singing arias and not so hard during scales.
Maestro Tenelli, could the same be said of someone wanting/needing to sing low notes?
I do have a question. You seem to have significant tongue retraction and spreading. Is this not a bad thing???
It is normal
Wonderful!
if i have a belcanto teacher that teaches me covering up technique and after like 4-5 years i get pretty good at it and then i come to you , will i be able to make some diference discovering true appoggio?
+Fredi Tuki ok u answered my question later on in the video :D , thanks
All High Cs and High Bs sung in a different way than High Bflats. Watch Bonisolli. He sings High Cs like Gs.
do you mean marilyn horne? i can't fint merlyn horn anywhere. i like your videos!
Mente controlla tutto e tutti è diverso.
Se mi avete sentito bene, non mi diffondo un'altra teoria inutile, questa è la scienza del canto. se desn't funziona per voi va bene, altri hanno bisogno di it.We sono tutti diversi
16:55
sure
thanx master
Mr. Tenelli thanks for this great advices. I have a question, there are some college partners and voice teachers that say that is needed to press the stomach inside when one is reaching the high notes. It this is true?! I tried to do that, but it is quite difficult, I breath trying to expand all my core and mantaining it until I end a phrase, but I dont push the stomach inside. Thanks!
you are doing it right way, dont push your stomach in. If you think about it logically, once you push your stomach in, all the internal organs will push on diaphragm and you will get more pressure on your cords, while it might help you to reach the high notes, it will sound like yelling and sooner or later it will destroy your voice. Expand and maintain it, expand even more on high notes, pressure will come from lower abdominal's naturally.
zura iashvili Thanks for clarifying my doubt. Really thanks! :) I was having a lot of problems with this theme.
XneoclassicaloverX No problem, as you are having doubts and problems with support mechanism let me explain better how to do it. First i tell you why i think push out school is superior to push in school. First reason is that physics approve it, when you are maintaining expansion your diaphragm remains tense because all the abdominal and side abdominal muscles are connected to diaphragm and while you cant consciously feel diaphragm you can control it by muscles that attach to it and also we can feel. also when your expanded by laws of physics it takes pressure off of your larynx and you can sing freely. Second because all the famous singers that i like have done it this way, from Caruso to Gigli to Milnes, Horne, Sutherland, Pavarotti(who often talked about taking deep breath and keeping it till the very end of the phrase). I know they have done it this way not because i can hear it on record but because i have read their books and have seen their interviews. Now despite of all the instruction we might read or hear online or from private teacher it is still damn hard to use it properly and reliably. How i would teach it is following: first of all relax everything above your solar plexus, then take breath in your lower back as low as you can, this should expand your back, sides of abdomen and belly itself above navel, keep in mind that muscles bellow navel are for providing pressure and they should not go out, they should stay in no matter how deep breath your take(also dont try to over expand by taking enormous breath, it won't help, it will only make you rigid, take as much as you feel you need for phrase). Okey so you have 360 expansion in the region from solar plexus to navel and pelvic muscles are still in, now comes in support part. You want to maintain this posture for as long as you sing. Best way to do it to introduce little bit of tension in abdominal muscles, just a little bit though don't get rigid and dont tense everything up, just a little bit of tension is enough to maintain expansion. Consider that these abdominal muscles might be weak if you have not used them before, so be patient and train them. also once you got this support mechanism down make sure to sing with your vocal cords closed, because support won't matter if your cords are not closing fully. To do that, you need to use your mask resonance. To find it put letter "n" in front of the word's and sing it that way and you will understand what i am talking about, if you are young using nasal resonance could also focus your voice. so its basically three steps, breath, support and resonance. Best of luck with your training.
Thanks for all this valuable info. Thanks! :)
zura iashvili you are definitely an thorough and insightful expert in this. Thank you so much for explaining this. I found it by myself after about half a year trial and error. The expansion way is so effective. Yet the sensation is so different. It's like learning singing and even talking all over again.
Grazie maestro
like credesi misera with high f note at the last part off aria,are they use diferent register to do that?
That note is mostly sang in a “reinforced falsetto”.
It’s strange how voices speaking don’t reflect power of singing voice a lot of the time
Pavarotti sounds spoken rich and powerful more than Tenelli but opposite is true This guy is much more powerful 200 percent
what high note exactly?
If you got perfect pitch good luck with that trick
Five to seven years is true it sounds easy but it’s a climb up mount everest but no talent pop singer makes a fortune overnight and are called performance artists
How does one study with you?
Is it a baritone? Too low and too heavy for a tenor
He says he is a low tenor
What a great sin not knowing English. Spanish sub?
Why is your vibrato so slow? It s sounds like a wobble to me! Can you sing with a rapid vibrato? I think a faster vibrato sounds much better
is 43 too old to beginappoggio training also does weak pelvic floor muscles from having many children weaken the diaghgramic and abdominal muscles
if your voice is healthy and has not been shaken by alcohol or cigarettes sure you can start and have fantastic singing voice. While it might be hard to get a job in opera house, it is still worth to do it for sheer joy of singing well. Pelvic floor muscles and lower abdominal muscles are ones that provide pressure to fuel singing, while they might be weakened, you can always strengthen them by regular exercise. Most of the students have weak abdominal muscles when they start but they end up with rock like muscles after years of training.
I just really love classical singing my father was an opera singer I am a mezzo soprano with three octaves I have had some lessons with a bel canto teacher but she returned to Italy. I have intermittently had some problems with voice loss which began with a viral laryngitis upon examination by an ENT nothing his advice vocal coaching. However I found even after periods of rest when I resumed singing again I would have to take it easy other wise hoarseness would return so I am being my own doctor watching as many singing programmes as possible and trying different things a lot of vocal rest I am currently looking for a new vocal coach and even though I am experiencing these difficulties I keep going because I just love too much to give up zura iashvili
leanne gielens Also I have began to use the arpeggio breathing and I am finding not only is this tiring but it hurts in the lower back a bit to the muscles do they strengthen with practice and is it normal to need less support for the higher notes and more for the lower notes
leanne gielens arpeggio is type of broken chord, you probably mean appoggio. In any case you need more support for higher notes and for singing piano, lower notes are easier. higher notes require less air with higher breath pressure and higher breath pressure requires more support. It should not hurt thought, be sure not to over tighten abdominal and lower back muscles, very little bit of it enough, just a little bit, rigidity won't help you support, actually it will prevent you from supporting properly. If you use support properly you will never be hoarse again.
P
thank you master your method of describing is expectional ..
But you sound like a baritone... However, great theory!
Why? He says he js a tenor