You explain this very well. I’m happy you mentioned universal vs. individual rules. And mirror work cannot be stressed enough, especially when one is focused on good laryngeal technique. Your students are lucky to have you.
Thank you for this excellent explanation!! You put in words my way of thinking and working even if I still need to modify some things in my vocal technique, I'm very happy that I discovered your channel, bravo!!
I feel like this video could be undiscovered gold. I'll need to experiment and work on this. I'm currently trying to navigate the higher notes without thinning my sound down too much, my best educated guess is that I'm singing with too high of a larynx and need to learn how to strengthen it for this this lower-mid low position.
I'm loving your content and I compliment you. I want to add a detail here, it's very much needed I feel: the Melocchi school is mostly linked to Marcello Del Monaco, baritone and Mario's (who was THE Del Monaco) younger brother. Mario Del Monaco used to say he naturally possessed a pretty HIGH Lyric Tenor voice with a natural inclination towards Lirico-spinto (so he is considered among the greatest Dramatic Tenors ever but he says he CREATED that voice against his own original HIGH Lyric Tenor voice). Mario Del Monaco at the start of his career was singing with a quite highish larynx position and also a slightly constrained (to an extent...) and squished sound (HIS words, I'm not trying to bash anybody here!) and the idea was that he had to become some form of Lirico-leggero or perhaps even Tenore di Grazia. That type of vocal emission he says kinda ruined his voice and so HE NEEDED to re-train and find the largest freest form of openness in his throat: and that's what the Melocchi "vocal gym" did for him. He used to say that the Melocchi excercises had to be used as a training method, as a "palestra vocale" (vocal gym) to build and create certain aspects of the voice but then after having extensively studied and used it AS A TRAINING SOUND it had to be "forgotten and perhaps even do quite THE OPPOSITE of what it teaches" (I'm loosely translating from Mario Del Monaco own words) in order to sing freely and with no constraint.
Hence the lowish-to-low larynx position naturally achieved when taking a deep breath from mouth and nose at the same time while thinking about a pre-yawn sensation: the larynx goes down by herself but one is not supposed to PUSH and FORCE her down all the time. The Melocchi "bodybuilding" helps find an open throat and keep the larynx in proper position but it is not MEANT as a way TO SING, it's an excercise like lip-rolls, R-trills, tongue out wide bright "A" sound and whatnot :)
Wonderful information and very clear background explanations. Thank you. Take note, at 12:30 you have a misspelled word. "position" instead of "possition"
your examples definitely had more changes to them than just larynx position - you could even see the tongue move backward on the high note of the very low larynx scale to darken the sound further. a low larynx only becomes "pressed" downward if the base of the tongue (hyoid bone) depresses downward. the high larynx position also had a lot of weird manipulations that didn't come from just having a high larynx.
High larynx sounds best lol! I don’t understand the universal concept that the tubular opera sound is superior. I totally get that it is louder of course.
What sounds the best is a question of taste (Flamenco or sivilliana is usually sung with a very high larynx, while Russian orthodox church music usually with a very low for example and everything in between.) But in Opera, the "bodybuilding" of the voice, it's not just louder but safer as well, while you sing a big range, and everything should be stable and loud. A throat pain while/after singing for example usually will be a symptom of a high larynx. Same with people who get tired while talking a lot or any medical problems on the vocal cords - all this usually is a result of loud, forced high larynx singing. So , middle - low larynx. Position is not just about aesthetics but mostly about the health of the vocal cords and its stamina.
Since I’ve been inspired by various singers who have sung in various genres and styles of music, I have always wanted to know if it was possible for any singer to keep an open throat and a wide vocal range if the larynx is moving violently and quickly?
There were great tenors with non-italian school like Russian singers Lemeshev, Kozlovski, Nelepp. What would you tell about their technique - which clearly was very different also between them?
Hi Dmitry! How are you doing? My question: if Melocchi is very low larynx, how did the singers sang with so much squillo if the sound was actually woofy? No irony, serious question
Hello! It's a very good question. That's why I keep saying "stable mid- low" Larynx with an accent on the mid and the stable. I think that singing with a really low larynx squillo and the whole range it something that has to do with the nature, can be compared to a very heavy lifting for atlets. Few singers have the vocal cords that are able to resist and close well on this position. Mostly - don't. Only a work process with a good teacher can discover the right position for each singer. I think that the direction should be "stable- low". How low? That's very individual. But not a high one for sure!
I would suggest you to take at least few voice lessons for that. Exercises are just a way to practice something, you've learned already and got the right sensation and the ability to get it. The same exercise can be great if you do it correct, and very bad if you do it incorrect (because it makes your body to get use to do it wrong while you think you do it right).
It called "fake space" And it won't bring you far. The sound will be "white" And limited, the volume will be tight, the potential of the voice will open up only partly and the most important - if you will try to "sing through" This way - it is very bad for the health of the vocal cords.
You explain this very well. I’m happy you mentioned universal vs. individual rules. And mirror work cannot be stressed enough, especially when one is focused on good laryngeal technique. Your students are lucky to have you.
Thank you for this excellent explanation!! You put in words my way of thinking and working even if I still need to modify some things in my vocal technique, I'm very happy that I discovered your channel, bravo!!
Thanks, you are welcome :)
that's the very video I was looking for.
great, sir
thanx
Thank you very much for this.❤❤ I'm still a beginner and this is very much helpful.
Excellent video, Bravo 👏 ❤
I feel like this video could be undiscovered gold. I'll need to experiment and work on this. I'm currently trying to navigate the higher notes without thinning my sound down too much, my best educated guess is that I'm singing with too high of a larynx and need to learn how to strengthen it for this this lower-mid low position.
Good luck!
Great explanation and video! From theory to practice. Thanks for sharing the examples.
The best explanation of larynx position and its effect on the important space in your throat and the pressure on your vocal cords. Excellent!
Wow. Great explanation. FINALMENTE! Grazie!
Thank you, that's a great video, and great advices
I'm loving your content and I compliment you.
I want to add a detail here, it's very much needed I feel: the Melocchi school is mostly linked to Marcello Del Monaco, baritone and Mario's (who was THE Del Monaco) younger brother.
Mario Del Monaco used to say he naturally possessed a pretty HIGH Lyric Tenor voice with a natural inclination towards Lirico-spinto (so he is considered among the greatest Dramatic Tenors ever but he says he CREATED that voice against his own original HIGH Lyric Tenor voice).
Mario Del Monaco at the start of his career was singing with a quite highish larynx position and also a slightly constrained (to an extent...) and squished sound (HIS words, I'm not trying to bash anybody here!) and the idea was that he had to become some form of Lirico-leggero or perhaps even Tenore di Grazia.
That type of vocal emission he says kinda ruined his voice and so HE NEEDED to re-train and find the largest freest form of openness in his throat: and that's what the Melocchi "vocal gym" did for him. He used to say that the Melocchi excercises had to be used as a training method, as a "palestra vocale" (vocal gym) to build and create certain aspects of the voice but then after having extensively studied and used it AS A TRAINING SOUND it had to be "forgotten and perhaps even do quite THE OPPOSITE of what it teaches" (I'm loosely translating from Mario Del Monaco own words) in order to sing freely and with no constraint.
Hence the lowish-to-low larynx position naturally achieved when taking a deep breath from mouth and nose at the same time while thinking about a pre-yawn sensation: the larynx goes down by herself but one is not supposed to PUSH and FORCE her down all the time.
The Melocchi "bodybuilding" helps find an open throat and keep the larynx in proper position but it is not MEANT as a way TO SING, it's an excercise like lip-rolls, R-trills, tongue out wide bright "A" sound and whatnot :)
Amazing ❤
Thanks You for sharing this!!
I feel like I’ve had a voice lesson . Thank you !
Wonderful information and very clear background explanations. Thank you. Take note, at 12:30 you have a misspelled word. "position" instead of "possition"
your examples definitely had more changes to them than just larynx position - you could even see the tongue move backward on the high note of the very low larynx scale to darken the sound further. a low larynx only becomes "pressed" downward if the base of the tongue (hyoid bone) depresses downward. the high larynx position also had a lot of weird manipulations that didn't come from just having a high larynx.
Excelente explicacao, muito obrigado !!
Grazie, con molto piacere.
Terrific - thank you. Could you say something on tilting the larynx going from chest to head voice? Thank you
Excelente! Thanks
High larynx sounds best lol! I don’t understand the universal concept that the tubular opera sound is superior. I totally get that it is louder of course.
What sounds the best is a question of taste (Flamenco or sivilliana is usually sung with a very high larynx, while Russian orthodox church music usually with a very low for example and everything in between.) But in Opera, the "bodybuilding" of the voice, it's not just louder but safer as well, while you sing a big range, and everything should be stable and loud. A throat pain while/after singing for example usually will be a symptom of a high larynx. Same with people who get tired while talking a lot or any medical problems on the vocal cords - all this usually is a result of loud, forced high larynx singing. So , middle - low larynx. Position is not just about aesthetics but mostly about the health of the vocal cords and its stamina.
Since I’ve been inspired by various singers who have sung in various genres and styles of music, I have always wanted to know if it was possible for any singer to keep an open throat and a wide vocal range if the larynx is moving violently and quickly?
There were great tenors with non-italian school like Russian singers Lemeshev, Kozlovski, Nelepp. What would you tell about their technique - which clearly was very different also between them?
Hi Dmitry! How are you doing? My question: if Melocchi is very low larynx, how did the singers sang with so much squillo if the sound was actually woofy? No irony, serious question
Hello! It's a very good question. That's why I keep saying "stable mid- low" Larynx with an accent on the mid and the stable. I think that singing with a really low larynx squillo and the whole range it something that has to do with the nature, can be compared to a very heavy lifting for atlets. Few singers have the vocal cords that are able to resist and close well on this position. Mostly - don't. Only a work process with a good teacher can discover the right position for each singer. I think that the direction should be "stable- low". How low? That's very individual. But not a high one for sure!
Can u give some exercises for practicing middle low position?
I would suggest you to take at least few voice lessons for that. Exercises are just a way to practice something, you've learned already and got the right sensation and the ability to get it. The same exercise can be great if you do it correct, and very bad if you do it incorrect (because it makes your body to get use to do it wrong while you think you do it right).
is it okay for opera singers to sing wit high larynx and open with our soft palate?
It called "fake space" And it won't bring you far. The sound will be "white" And limited, the volume will be tight, the potential of the voice will open up only partly and the most important - if you will try to "sing through" This way - it is very bad for the health of the vocal cords.
@@TenorDmitry thank you so much... And yes it has been difficult for me to sing acoustic
Jonas Kaufmann got a forced low larynx and a throaty ingolata voice.
NOT good. Very overrated singer.
You explain to much WITHOUT any example or singing
Watch the whole video pls
Clueless