Repetition is what makes these videos so valuable. Singing is all about repetition. So many techniques, but the core concepts never change. I can watch any video and get the reminder to do something I had let myself drift from. I gain insight in every one of these videos. Pure gold.
Dear Mr. Trimble, I sincerely hope that you could impart your knowledge to other voice teachers so that they can pass it down to future generations. Your teachings on breathing techniques, such as focusing on the lower back instead of belly, are unique and valuable. It's impressive to note that you are the only one on the entire UA-cam platform discussing this aspect of voice training while many other "Hollywood" voice teachers or even other opera singers only talk about belly breathing. Thank you for everything you have done for us.
Hello Michael, I have stumbled upon your videos as I strive to improve my singing and my trumpet playing also seems to benefit from these learnings. My question is when you breathe while focusing on the lower back... is this a psychological shift to increase diaphragm / lung capacity whilst avoiding (the im guessing often common error of) pushing the stomach out? This is the result of my internalising your teachings and want to ensure (hard over the internet) that I am in the right direction. thank you
Mr.Trimble I have a question. should we practice this type of breathing even when we are breathing normally and not singing or is it only for when we are going to sing?
This is the first of your videos (and also exercises in your book, which I have) that I did not understand and could not reproduce... are you closing with your soft palate/back of tongue? In all your other videos those are no-no's. You use "ng-ng-ng" also in this clip, but in other videos you warn about the "hng line"... Is this happening in the larynx? If so, doesn't it undo the "down and open" that deep breathing encourages? How are you producing a recognizable note/tone without a distinct vowel? Thank you very much for sharing this knowledge!
Salut, Josh. I tried to explain very clearly in the beginning of the new tape that the "hg-line" in the lower posture (across the lower cheeks and nasal area) us an absolute no-no because it places the resonance into the nasal cavity. Never sing into the nasal cavity, period. The "ng" posture that is acceptable is higher in the face, in the "third eye", in the center of the forehead. Magically, when the higher "hg" is slightly opened, the vowels are not in the nasal cavity and there is no dominating nasal resonance. Always pinch your nose closed to make certain that none of the singing tones respond nasally and are not nasally affected by closing the nose. You can sing the French nasalized vowels without nasal resonance if you vocalize them with the nose pinched closed. The reason is, of course, that the resonance we seek is completely above the nose and never in the nose. If the tones are disturbed by pinching the nose closed while singing or speaking, the posture of the "hg" is too low or the resonance is too low. Any kind of "hg" will respond to the pinched nose because even the high "hg" itself requires that the nose be open. The great difference between the low position and the high position of the 'hg' is that when they are opened, the resonance produced by the upper one in not nasal at all. Some singers place the high "ng" into the top of the skull and it works very well in terms of preventing nasality. The position of the "hg' in the top of the skull can distort the phonation and the language being sung can become distorted. Therefore, the center of the forehead has proven to be the best of the many possible placements of the "hg". I hope this clarifies the matter for you. I have many more practices to demonstrate for the singers, but many of them can be misunderstood or misinterpreted. I decided to touch on this one because is can be very helpful to the singer who can execute it properly. However, i may be unable to explain it clearly because of my lack of vocabulary that will accurately explain and define some of the concepts that are so easy to explain and demonstrate in a voice lesson. You can forget this one if it does not help you. We must remember why these videos are up on UA-cam. The idea is that they are supposed to help the singers and never confuse them. if they are confusing, blame me and skip this one. I hope this helps you to understand the difference between the "hg' that is placed too low and resonates in the nasal cavity and one that sits above the nasal cavity in the center of the forehead and causes the entire head to resonate. All the best, Michael t
Repetition is what makes these videos so valuable. Singing is all about repetition. So many techniques, but the core concepts never change. I can watch any video and get the reminder to do something I had let myself drift from. I gain insight in every one of these videos. Pure gold.
Dear Mr. Trimble, I sincerely hope that you could impart your knowledge to other voice teachers so that they can pass it down to future generations. Your teachings on breathing techniques, such as focusing on the lower back instead of belly, are unique and valuable. It's impressive to note that you are the only one on the entire UA-cam platform discussing this aspect of voice training while many other "Hollywood" voice teachers or even other opera singers only talk about belly breathing.
Thank you for everything you have done for us.
So helpful Mike. Thank you. There really are so many ways to sing. Totally agree!
Thank You Maestro For Everything
Hello Michael,
I have stumbled upon your videos as I strive to improve my singing and my trumpet playing also seems to benefit from these learnings.
My question is when you breathe while focusing on the lower back... is this a psychological shift to increase diaphragm / lung capacity whilst avoiding (the im guessing often common error of) pushing the stomach out?
This is the result of my internalising your teachings and want to ensure (hard over the internet) that I am in the right direction.
thank you
Mr.Trimble I have a question. should we practice this type of breathing even when we are breathing normally and not singing or is it only for when we are going to sing?
How to people do tremelo on high notes?
This is the first of your videos (and also exercises in your book, which I have) that I did not understand and could not reproduce... are you closing with your soft palate/back of tongue? In all your other videos those are no-no's. You use "ng-ng-ng" also in this clip, but in other videos you warn about the "hng line"... Is this happening in the larynx? If so, doesn't it undo the "down and open" that deep breathing encourages? How are you producing a recognizable note/tone without a distinct vowel?
Thank you very much for sharing this knowledge!
Salut, Josh. I tried to explain very clearly in the beginning of the new tape that the "hg-line" in the lower posture (across the lower cheeks and nasal area) us an absolute no-no because it places the resonance into the nasal cavity. Never sing into the nasal cavity, period. The "ng" posture that is acceptable is higher in the face, in the "third eye", in the center of the forehead. Magically, when the higher "hg" is slightly opened, the vowels are not in the nasal cavity and there is no dominating nasal resonance. Always pinch your nose closed to make certain that none of the singing tones respond nasally and are not nasally affected by closing the nose. You can sing the French nasalized vowels without nasal resonance if you vocalize them with the nose pinched closed. The reason is, of course, that the resonance we seek is completely above the nose and never in the nose. If the tones are disturbed by pinching the nose closed while singing or speaking, the posture of the "hg" is too low or the resonance is too low. Any kind of "hg" will respond to the pinched nose because even the high "hg" itself requires that the nose be open. The great difference between the low position and the high position of the 'hg' is that when they are opened, the resonance produced by the upper one in not nasal at all. Some singers place the high "ng" into the top of the skull and it works very well in terms of preventing nasality. The position of the "hg' in the top of the skull can distort the phonation and the language being sung can become distorted. Therefore, the center of the forehead has proven to be the best of the many possible placements of the "hg". I hope this clarifies the matter for you. I have many more practices to demonstrate for the singers, but many of them can be misunderstood or misinterpreted. I decided to touch on this one because is can be very helpful to the singer who can execute it properly. However, i may be unable to explain it clearly because of my lack of vocabulary that will accurately explain and define some of the concepts that are so easy to explain and demonstrate in a voice lesson. You can forget this one if it does not help you. We must remember why these videos are up on UA-cam. The idea is that they are supposed to help the singers and never confuse them. if they are confusing, blame me and skip this one. I hope this helps you to understand the difference between the "hg' that is placed too low and resonates in the nasal cavity and one that sits above the nasal cavity in the center of the forehead and causes the entire head to resonate. All the best, Michael t
@@Tenoretrimble Thank you for the detailed response - and for all the knowledge you impart