Thank you so much for your generosity in providing these videos. The idea of a slow development of a single, two octave range by using proper support techniques (rather than by artificial manipulations of the vocal chords or by distortion of vowels) is the opposite of what almost all others teach on UA-cam and in studios, but it's exactly what I've been searching for. Thank you for keeping me from taking a wrong turn.
it was so helpful to understand that the "appoggio zone" is started on within a small group of notes rather than a whole octave from the start. thank you mr. tenelli.
Thank you so much for sharing your lessons to us! It helps me a lot of developing my natural resonance and increasing my support enormously! Also I can sing with lowered larynx now, cause of appoggio technique. I'm so thankful! I saw a lot of lesson videos on youtube, but your videos are the best for me in understanding!
Thank you Maestro for your generous outpouring of guidance. I love singing and have been looking for guidance and have found your instructions very illuminating. A grateful singer
Very smart question. Speaking generaly, appoggio is the way of support/breathing that provides one timbral singing range. "Sul fiato senza diaphragma" is also appoggio type that deals with falsetto type of voices(low abbs plus vocal folds) Next type deals with low abbs, passive diaphragm opposition(Classical/opera sound) that's where belly get's in Altimate type deals with low abbs and active dynamic diapgragmical opposition necessary to control big volumes and consistancy- True appoggio
Hi Franco thank you for sharing all of this. I’ve just started singing myself (18) and I’m finding this extremely helpful. I’m glad I’ve found this rather than the horrid placement school. Already my voice is sounding more chiaro scuro, at least in the “appoggio zone” as you called it. Before lessons I had a horrible tendency to sound nasal, which is now gone entirely. My natural resonance, I think (that is why I have a teacher as well, who teaches one register singing), spans from the F below middle C to the C#/D above it. If I’m really concentrating I can get it to an Eb. With this and the help of my teacher I will continue to expand my natural resonance in whichever direction it goes. My voice seems to be of dramatic colour which may explain why I struggle to hit anything properly above an F. Obviously at this stage it needs much more development to eventually be able to project in an opera house but it’s much farther than what I was at a few months ago. I hope to enter an operatic career when I have built the voice but for now I’m relying upon the organ and violin as I have far more experience on those.
Briefly, true appoggio goal is to create a beautiful, one timbral instrument, thrugh leaning apon 1.Vocal cords(Sul fiato senza diapfragma) small falseto type sound 2.Vocal folds and passive D. Classical type 3.Diaphgragm that is constantly oposing air stream, creating the most ballanced/consistant voice True appoggio all types can work fine if a singer uses them according to his voice type and repertoir
Sir, you are simply ingenious! :) Not only the fact that you teach so lovely, confidant and patience but mostly because you have come to explain to us what is other wise natural conclusions for you as to us not... God Bless~
I have found that a regular program of abdominal exercises, especially a wide variety of exercises that target all the areas of the abdominal muscles ( or core exercises as they are also called) is very helpful in waking up the appoggio sensations.
@@edwardwheeler197 they do and more besides. In the 1990s a number of singers at the Royal opera House trained with a fireman instructor who specialised in breathing (smoke inhalation). I know a couple who have gone full on with free diving.
@@randywest3027 would help if I could type accurately Randall. Should read child's pose. By kneeling in an elongated position the back is more engaged whilst breathing. David Trimble is the man for yoga and singing 😁. Sometimes I fear we overthink these things. Best
as for Salvatore Fisichella, who was a great Rossini tenor, his technique did not have that ultimate appoggio I'm talking about. Rossini/Bellini tenors use mostly passive opposition of the diaphragm. I have very famous singing Rossini tenor asking me to teach him appoggio, because he changed repertoir and singing Donizetti and even Verdi and his old "passive diaphragmical technique" doesn't work anymore(He sang Rossini's prima tenore roles at the Met and other theaters.
I have a Rossini tenor or leggiero tenor vocal fach. Should I then also learn appoggio technique or more of a placement technique given the heady sounding full voice at the top characteristic of young leggieros? Thank you
I am coming from trumpet and there are players who think they have to adjust their embouchure for high and low etc., but the real way is to just put the horn on your mouth and play, no change from "pedal tones" which is ... make trumpet sound like a tuba, to high C and above. It has to be natural. But I am just beginning in training my voice.
Greetings Maestro Tenelli, and congratulations on your numerous great contributions to the vocal arts community, it has been of great help to many including myself, especially at times of a deterioration of the art, and at a time where the price to learn( seldom the right way) is often beyond the budget of many. Your work on Appogio especially is of incredible value, andit has helped me a lot. I have a question I had the luck of attending a masterclass by Salvatore Fisichella surely one of the
@128pagenovella Sure, they use resonant voices, mostly streight(non vibrato) and nasal. They range never match classical range and they are very good when they sing in that style. In classical music we use round, resonant sound with vibrato, that's call by Pavarotti a "Noble sound" as apposed to streight and nasal folk sounds
So helpful your a gem franco thank you compression pressure and muscle tension and how much is too much ? and do you feel warm air escape your nostrels when vocalising a sensation I started to experience recently
Wow thank you so much for the answer Maestro, you really shed the light into many questions and I have had for a long time but always with good answers are born new questions and I would really appreciate to know if it is possible, when you inhale does the stomach protrude or is there a small pulling in of the belly button before inhaallation and while im inhailing in order for the stomach not to protrude thus having greater expansion in the back and in the sides. With the former it is possible
The difference between people wowing over technique and simply wowing over the beauty of a performance can be seen, I think, in Anne Sofie Von Otter's performance of "Nacqui all'affano...non piu mesta". There are other performances that are also immensely enjoyable and admirable, showing off virtuosic pyrotechnics. Her performance, taken at a less than top speed, nevertheless moves one by its grace, elegance and appearance of effortlessness. It becomes about the music and not the singer.
@TheSportlike Nobody can say for all. To be fully appoggio singer took Pavarotti to be a professional opera tenor first, and only later mastering it. In general it could take from 3 to 6 years
thanks for taking the time with these. i'm curious what you make of the technique of eastern european folk singing, bulgarian,russian etc. i'm guessing you don't prefer it because it can be quite nasal, not as rounded, but it seems to be extremely resonant. the female vocalists sound much 'chestier' [if i can use the standard vocal lingo] than female classical singers, who sound much 'headier'. perhaps these folk singers are just using a more forceful, 'belt' sound or singing in a lower range.
@TenelliVoiceGuru i also wonder how u sing high notes in your jazz style. i'm interested in how opera singers adapt up high. i've heard eileen farell sing jazz but seems to belt more in the upper range, much like [even class. trained] broadway singers. people seem to drop the class. style upper transition[which seems smoothest] and shout/belt. renee fleming said could sing pop only in low reg, otherwise flipped into 'operatic' voice, but isn't a midground between styles possible in upper reg?...
Was Richard Tucker Appoggio singer? I'm really interested in this,because he's one of my favorite singers and I listen to him a lot to learn more about operatic singing. Thank you for your explanations and descriptions.
Thank you for this video! Actually for this series of video. Wayting for the next "step") How much time the extending of the voice will can make? (sorry for my IIIInglish если что=))))
............(as in the Lotte Vocale) Does that sound right to use the lower abs really strongly to push up or in? ( I do have 3- almost 4 working octaves:) Grazie Franco
Maestro, When using Appoggio support, does the abdominal muscles, the oblique muscles, or the back muscles flex or does it need to be relaxed as much as possible, while the diaphragm balances? My body engages either the abdominal or oblique muscles automatically when using Appoggio.
To maintain and expand the abdominal area when pushing down as you spoke about in the appogio while with the latter it is possible to have a certain bulge in the epigastrium and maintain and maybe even expand slightly in the lower back and in the sides. this is a question that I've had quite some time because it seems that there are many ways to inhale and many ways that the body may react to efforts of support. Sorry for the large and continuous questions, but you know how we tenors are :)
hm. this seems helpful I have an unusually large voice i am thin with a huge dramatic soprano voice. i have been having trouble supporting the sound i will try this . kindly thankyou
what tightens the throat is parallel tension effect. When you push down you tighten other unnecessary muscles. That's mind work and not necessity muscles doing it. To reduce tension or teach your mind not to apply unnecessary tension watch my video with articulation tags
Not sure if I have the right understanding... When we are exhaling the lower abdominals should be "pushing" up, right? Then the diaphragm should start resisting the air pressure generated by the lower muscles push. Is this right?
@ColdCharge Why not:) Appoggio is not a singing style, it' just a technique associated with classical sound Gospel or blues are very close to classical voice production, as for jazz crooning,that's a different technique.
Belcano voices are lighter ones in comparison to Wagnerian roles. Wagnerian roles are heroic and instrumental(as a leading instruments of the orchestra) but belcanto based on individual(more based on melody) arias and scenes.
Maestro, I have a question: do we push down in the "appogio zone" too, or do we let the diaphragm be static in this natural range and only push down when going higher?
So, if i guessed correctly, you expand your appoggio range slowly by maintaining the same posture and breathing pattern as you would in your natural range.
Master what is the difference between wagnerian roles and belcanto roles? aren't both classical? (please forgive my ignorance) or both have different technique?
greatest tenors in his repertoire of the last lets say 30 years??? As far as supporting was concerned though, he advocated that you breath and the stomach protrudes, and when you sing it goes in, singing on the breath. You also spoke a lot of the support on the cords, lean on the neck muscles or throat muscles or something I do not want to give the wrong message, but im sure you understand. Would you call this appogio??? From what I have read through you it seems more like another approach.
Your knowledge seems to be great! But your English is pretty hard to understand, I'm not a native speaker. I wish I could get all the stuff you said. What a pitty!
Thank you so much for your generosity in providing these videos. The idea of a slow development of a single, two octave range by using proper support techniques (rather than by artificial manipulations of the vocal chords or by distortion of vowels) is the opposite of what almost all others teach on UA-cam and in studios, but it's exactly what I've been searching for. Thank you for keeping me from taking a wrong turn.
it was so helpful to understand that the "appoggio zone" is started on within a small group of notes rather than a whole octave from the start. thank you mr. tenelli.
The singer that I ear With The most natural voice was Nino Bravo. All clean, clear, potent . Thank's for your videos.
Thank you so much for sharing your lessons to us! It helps me a lot of developing my natural resonance and increasing my support enormously! Also I can sing with lowered larynx now, cause of appoggio technique. I'm so thankful! I saw a lot of lesson videos on youtube, but your videos are the best for me in understanding!
Thank you Maestro for your generous outpouring of guidance. I love singing and have been looking for guidance and have found your instructions very illuminating. A grateful singer
Very smart question. Speaking generaly, appoggio is the way of support/breathing that provides one timbral singing range. "Sul fiato senza diaphragma" is also appoggio type that deals with falsetto type of voices(low abbs plus vocal folds)
Next type deals with low abbs, passive diaphragm opposition(Classical/opera sound) that's where belly get's in
Altimate type deals with low abbs and active dynamic diapgragmical opposition necessary to control big volumes and consistancy- True appoggio
Hi Franco thank you for sharing all of this. I’ve just started singing myself (18) and I’m finding this extremely helpful. I’m glad I’ve found this rather than the horrid placement school. Already my voice is sounding more chiaro scuro, at least in the “appoggio zone” as you called it. Before lessons I had a horrible tendency to sound nasal, which is now gone entirely. My natural resonance, I think (that is why I have a teacher as well, who teaches one register singing), spans from the F below middle C to the C#/D above it. If I’m really concentrating I can get it to an Eb. With this and the help of my teacher I will continue to expand my natural resonance in whichever direction it goes. My voice seems to be of dramatic colour which may explain why I struggle to hit anything properly above an F. Obviously at this stage it needs much more development to eventually be able to project in an opera house but it’s much farther than what I was at a few months ago. I hope to enter an operatic career when I have built the voice but for now I’m relying upon the organ and violin as I have far more experience on those.
Thank you Maestro! This course is most informative and helpful which i 've ever got on youtube! With big respect!
Once again, very satisfied. Your passion shows.
You seem to be an excellent teacher
The depth of his knowledge is incredible.
Again, thank you so much for this wonderful training.
Thank you Maestro Tenelli for your UA-cam ministry to singers.
Briefly, true appoggio goal is to create a beautiful, one timbral instrument, thrugh leaning apon
1.Vocal cords(Sul fiato senza diapfragma) small falseto type sound
2.Vocal folds and passive D. Classical type
3.Diaphgragm that is constantly oposing air stream, creating the most ballanced/consistant voice True appoggio
all types can work fine if a singer uses them according to his voice type and repertoir
Sir, you are simply ingenious! :) Not only the fact that you teach so lovely, confidant and patience but mostly because you have come to explain to us what is other wise natural conclusions for you as to us not... God Bless~
Thanks so much Franco! Very helpful
Excellent! Thank you.
I have found that a regular program of abdominal exercises, especially a wide variety of exercises that target all the areas of the abdominal muscles ( or core exercises as they are also called) is very helpful in waking up the appoggio sensations.
Kamilla V - I totally agree and don't understand why most singers don't work out.
I do the wim hof method whilst in child's and then do farinelli in same position. Gets the lower back moving. Thanks for sharing.
@@edwardwheeler197 they do and more besides. In the 1990s a number of singers at the Royal opera House trained with a fireman instructor who specialised in breathing (smoke inhalation). I know a couple who have gone full on with free diving.
@@advocate1563 what do you mean by child's. Yoga?
@@randywest3027 would help if I could type accurately Randall. Should read child's pose. By kneeling in an elongated position the back is more engaged whilst breathing. David Trimble is the man for yoga and singing 😁. Sometimes I fear we overthink these things. Best
Very very nice. Thank you.
Thank you for this sir!
as for Salvatore Fisichella, who was a great Rossini tenor, his technique did not have that ultimate appoggio I'm talking about. Rossini/Bellini tenors use mostly passive opposition of the diaphragm. I have very famous singing Rossini tenor asking me to teach him appoggio, because he changed repertoir and singing Donizetti and even Verdi and his old "passive diaphragmical technique" doesn't work anymore(He sang Rossini's prima tenore roles at the Met and other theaters.
I have a Rossini tenor or leggiero tenor vocal fach. Should I then also learn appoggio technique or more of a placement technique given the heady sounding full voice at the top characteristic of young leggieros? Thank you
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Great guru! Man how is called! Tenelli sei bravissimo
I am coming from trumpet and there are players who think they have to adjust their embouchure for high and low etc., but the real way is to just put the horn on your mouth and play, no change from "pedal tones" which is ... make trumpet sound like a tuba, to high C and above. It has to be natural. But I am just beginning in training my voice.
Greetings Maestro Tenelli, and congratulations on your numerous great contributions to the vocal arts community, it has been of great help to many including myself, especially at times of a deterioration of the art, and at a time where the price to learn( seldom the right way) is often beyond the budget of many. Your work on Appogio especially is of incredible value, andit has helped me a lot. I have a question I had the luck of attending a masterclass by Salvatore Fisichella surely one of the
If you close your eyes and watch this video it sounds like christopher walken speaking in an italian accent
Very true
Jean Frenchi then watch it again with your eyes close.....😒
Thank you.
@128pagenovella Sure, they use resonant voices, mostly streight(non vibrato) and nasal. They range never match classical range and they are very good when they sing in that style.
In classical music we use round, resonant sound with vibrato, that's call by Pavarotti a "Noble sound" as apposed to streight and nasal folk sounds
@Oberon90 Sure he was, he had one of the best techniques among tenors of his generation and over
Thank you
So helpful your a gem franco thank you compression pressure and muscle tension and how much is too much ? and do you feel warm air escape your nostrels when vocalising a sensation I started to experience recently
you got it right
Wow thank you so much for the answer Maestro, you really shed the light into many questions and I have had for a long time but always with good answers are born new questions and I would really appreciate to know if it is possible, when you inhale does the stomach protrude or is there a small pulling in of the belly button before inhaallation and while im inhailing in order for the stomach not to protrude thus having greater expansion in the back and in the sides. With the former it is possible
The difference between people wowing over technique and simply wowing over the beauty of a performance can be seen, I think, in Anne Sofie Von Otter's performance of "Nacqui all'affano...non piu mesta". There are other performances that are also immensely enjoyable and admirable, showing off virtuosic pyrotechnics. Her performance, taken at a less than top speed, nevertheless moves one by its grace, elegance and appearance of effortlessness. It becomes about the music and not the singer.
@TheSportlike Nobody can say for all. To be fully appoggio singer took Pavarotti to be a professional opera tenor first, and only later mastering it. In general it could take from 3 to 6 years
thanks for taking the time with these.
i'm curious what you make of the technique of eastern european folk singing, bulgarian,russian etc. i'm guessing you don't prefer it because it can be quite nasal, not as rounded, but it seems to be extremely resonant. the female vocalists sound much 'chestier' [if i can use the standard vocal lingo] than female classical singers, who sound much 'headier'. perhaps these folk singers are just using a more forceful, 'belt' sound or singing in a lower range.
"There is no money and I'll never be rich" lol!
@TenelliVoiceGuru i also wonder how u sing high notes in your jazz style. i'm interested in how opera singers adapt up high. i've heard eileen farell sing jazz but seems to belt more in the upper range, much like [even class. trained] broadway singers. people seem to drop the class. style upper transition[which seems smoothest] and shout/belt. renee fleming said could sing pop only in low reg, otherwise flipped into 'operatic' voice, but isn't a midground between styles possible in upper reg?...
Was Richard Tucker Appoggio singer? I'm really interested in this,because he's one of my favorite singers and I listen to him a lot to learn more about operatic singing. Thank you for your explanations and descriptions.
Thank you for this video! Actually for this series of video. Wayting for the next "step") How much time the extending of the voice will can make? (sorry for my IIIInglish если что=))))
Mr. tenelli, when you say to push down on the diaphram when singing high notes, do you mean push down with the abdomen muscles? or to inhale more air?
............(as in the Lotte Vocale) Does that sound right to use the lower abs really strongly to push up or in? ( I do have 3- almost 4 working octaves:) Grazie Franco
Yes:)
Maestro,
When using Appoggio support, does the abdominal muscles, the oblique muscles, or the back muscles flex or does it need to be relaxed as much as possible, while the diaphragm balances? My body engages either the abdominal or oblique muscles automatically when using Appoggio.
To maintain and expand the abdominal area when pushing down as you spoke about in the appogio while with the latter it is possible to have a certain bulge in the epigastrium and maintain and maybe even expand slightly in the lower back and in the sides. this is a question that I've had quite some time because it seems that there are many ways to inhale and many ways that the body may react to efforts of support. Sorry for the large and continuous questions, but you know how we tenors are :)
hm. this seems helpful I have an unusually large voice i am thin with a huge dramatic soprano voice. i have been having trouble supporting the sound i will try this . kindly thankyou
what tightens the throat is parallel tension effect. When you push down you tighten other unnecessary muscles. That's mind work and not necessity muscles doing it. To reduce tension or teach your mind not to apply unnecessary tension watch my video with articulation tags
Mr.Tenelli is there anyway to blend Appoggio style of singing with jazz or gospel?
Not sure if I have the right understanding... When we are exhaling the lower abdominals should be "pushing" up, right? Then the diaphragm should start resisting the air pressure generated by the lower muscles push. Is this right?
That means that I dont need the use of appoggio when I am in the passagio zone? Just only use the chiaro-scuro?
@ColdCharge Why not:) Appoggio is not a singing style, it' just a technique associated with classical sound
Gospel or blues are very close to classical voice production, as for jazz crooning,that's a different technique.
Belcano voices are lighter ones in comparison to Wagnerian roles. Wagnerian roles are heroic and instrumental(as a leading instruments of the orchestra) but belcanto based on individual(more based on melody) arias and scenes.
Maestro, I have a question: do we push down in the "appogio zone" too, or do we let the diaphragm be static in this natural range and only push down when going higher?
Good question. I hold down my diaphragm throughout, and push down even lower on higher notes and lower notes. Keep ribs expanded throughout.
@TenelliVoiceGuru can you tell the difference between appogio technique,crooning,and belting? Thank you :)
is it ok if my appogio zone goes only to G below middle C? From around A two octaves below middle C? (although i can get down to basso E)
What was the song in the end?
Денег нет и не будет 😄 Такая распевка точно для меня.
So, if i guessed correctly, you expand your appoggio range slowly by maintaining the same posture and breathing pattern as you would in your natural range.
Master what is the difference between wagnerian roles and belcanto roles? aren't both classical? (please forgive my ignorance) or both have different technique?
@langleytw Nobody fels exactly te same:) Feeling like in a work out-that's correct-that will go on before your muscules get in shape
what support do we give to hit more lower registers??
Would you consider Robert Merrill a great appoggio singer? His voice had one sound from high to low and did not have registers.
Merrill was one of the Greatest
Can we use appogio Technic for other singing styles ? for example pop , R & B or jazz .
Even we should 👍
All muscles, abdomenal or oblique they all participate, but when using appoggio one may not feel abdomenals.
I ship you and Maria Callas lol 👋
That's true, I do not feel my abdominal muscles.
it might feel like out
greatest tenors in his repertoire of the last lets say 30 years??? As far as supporting was concerned though, he advocated that you breath and the stomach protrudes, and when you sing it goes in, singing on the breath. You also spoke a lot of the support on the cords, lean on the neck muscles or throat muscles or something I do not want to give the wrong message, but im sure you understand. Would you call this appogio??? From what I have read through you it seems more like another approach.
Hello, do you give online Skype lessons?
perchè non fai il video in italiano?
perchè non fai un video in lingua italiana?
And I sound like baritone/dramatic tenor :(
Chances are he never became rich.
Your knowledge seems to be great! But your English is pretty hard to understand, I'm not a native speaker. I wish I could get all the stuff you said. What a pitty!
I concur with sir gigi. His English is fantastic. Perhaps you just have a hard time understanding him.