Appoggio as superior way of the voice support/sensations/experience
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- Опубліковано 22 сер 2024
- Singing consistantly without forsing?
Can we learn it from smart books or brief suggestions?
How appoggio is different from other supportive methods popular today?
Why pro singers use covering techniques?
Should one cover voice?
You may find answeres in this brief lecture conducted by Emmy nominated opera tenor and vocal coach Franco Tenelli
Maestro Tenelli, I continue to come back regularly to your videos on 'appoggio' technique to stay fresh in my 'understanding. As you said, words do not teach, only life experience truly teaches. Yet you give such an understandable concept that it stays in consciousness (at least for me), which helps immensely when actually practicing the technique. Also, your demonstrations of appoggio vs. other support methods, has helped me understand, more consciously, what I've done in the past that often left me much more inconsistent in vocal production. Even with a wonderful voice teacher, for decades, finding you (some years at this point) and your wonderful teaching of appoggio technique, has been a 'revelation' for me. To say I'm grateful is an understatement....Thank you!
Master Tenelli, I am studying under a retired operatic baritone who sang opera and operetta his whole life and is extremely focused on appogio. Appogio technique changed my life, literally. With appogio my teacher helped me, a bass-baritone, to reach 3-octave range of bass-C to tenor-C, full voice, while retaining power. I wish that everyone learned and commanded appogio as the absolute base for singing, and only then continue to further technique aspects!
“ Explained and Demonstrated” Excellently…
I picked up a book in a used book store on singing Bel Canto published in the 1950's last year and the author spends a whole chapter on Appoggio. I have found it the most important revelation in my vocal pedagogy learning experience.
I now teach appoggio to all my students and I see almost instant results in their projection and freedom of sound. Their throats are wide open and unrestricted and their voice sound clear and resonant. Great stuff.
Kevin Richards RPM Vocal Studio what’s the name of the book
@Thriller94 there are two types of muscle that provide that action. Muscles supporting yawning are not enough to sustain larinx in the same place during singing. Diapgragm is the power engine in this case. Diaphragm ballances airflow and makes it easier for the throat to keep the position of the yawn.
@thekaliko if you like to achiev maximum non classical range, take "Sul fiato" non diaphragmical way of support, but in this case power of your voice will be very small and you have to use a mike.
Appoggio can give you 2 octave powerful, beautifuly connected range which is more then enough in classical singing.
As a rule:more power less range...
Thank you so much!!!! Franco... You are an excellent Teacher, maestro
Thank you very much for this excellent explanations - utterly helpful and important for every serious singer or singing teacher.
I agree with everything you have said.
@Bjoerrelli I saw the video. Riggs says correct things though his demonstration are desired to be better.
to my language "chiaro scuro" is openthroat appoggio technique. Only chiaro brings nasality and disconnection with the rest of the body, only Scuro brings woofiness therefore no projection. It's a pity that Pavarotti in a demonstration only showed F# properly, the beggining of the passage was not well supported and therefore it sounded like covered sound
Master Tenelli i apreciate all your help ur the best teacher in the world
@maya4406 very good questions!
Use of the diaphragm is a must for all projective styles of singing but appoggio is not just a passive use of the D.
Domingo in one of his masterclasses said that one should never relax it during the singing(I agree) and I'm not familiar with Pavarotti's statment.
The rule of thumb is the bigger the sound the more appoggio one needs, the bigger the ranger thye more appoggio.
Diaphragm is not used only in falsetto production, there one sings sull fiato
@Piarose7 sure I can help you:) but less with advice, come to Montreal!
Larinx stability is crucial for voice integrity but mostly with classical voices, larinx doesn't necessarily have to be stable in less powerful projections(unless it gives you tension)
Franco
I have to learn on my own, I am broke, this is all I have, free youtube. I cant afford anything. But I still want to be the best. OK can you help me? How do I actually do this? Right now I get sore after singing 1 hour. How can I do gigs? Can you help? I have no idea what "Placement" or "Appoggio" means.. This other guy on youtube said to "lean" on the breath. What does that mean? Jeez.. can you help? Thanks.
@aryankhah crack or Rooster:) caused by incorrect placement or support, it occurs mostly in high notes or passagio notes. Most often it occurs when change of vocal compression is undermined. If one learns how to ballance it with diaphragm(best way) or by placement change(worst way) it will never occur
@garanss Good point but it only covers one aspect of complexity in singing. Pavarotti said in one of his interview when he was asked, "What do you think most when you sing?", Pav replied, "Technique....."
steak.
Thank you so much!!!! Franco...
@maya4406 Operatic voice or rather operatic style should not be used in sacred or baroque music(Unless one sings Verdi's requiem or Kody's Psalmus H), but sue of the diaphragm, I repeat, is a must.
@garanss Well, I think what is most important for any singer and Mr. Tenelli could correct me if I'm wrong, when one sings - it has to be healthy and natural first and foremost.
Franco you should be teaching at the most fine institution because you exemplify your accurate knowledge through your practice and you are compelled to. Submit your resume. steak.
I wonder if you can comment a video I found here on youtube It´s a person trying to show the similarity between Pavarotti´s teaching of the covered sound with the teaching of speech level singing. To me it shows the difference between using appoggio and not using appoggio. Search for "Is support or appoggio important? Riggs versus Pavarotti" And tell me if you agree or disagree.
In short, to develop the appogio we need to develop the resonate, unforsed voice, singing with pure vowels (open throat) and good timbre?
@TenelliVoiceGuru
dear maestro
please tell me briefly what causes the crack on high notes for tenors. I can sing safely up to A4 natural but singing higher gives me 2 options:1)tightening the throat(high larynx) and singing squeezed notes and 2)keeping the larynx low and attempting for high note and cracking....what is wrong with my approach and what should i do???
thanks very much
Maestro, thank you. I am concerned. My belcanto teach was in the line of Tettrazinni. I now realize that though appogio was stressed, it was muxed with placement as well. I was taught to cover as a tenor at F2-(F5)!!! Yet, relaxed jaw and tongue, appogio WAS stressed, but hybridized, it seems. Was this because as a Soprano doing colorratura roles, placement-focus is more required? I am a tenor. I am re-working my whol approach, technique, thanks to you. Thank you so.
@Thriller94 Take voice lessons with a real appoggio teacher, text message cannot answere your one million question. Also watch my most recent video on how to brows my site, there are many practical lessons and suggestion.
The question "how" is always personal. I have an impression that you did not pay an attenion watching this video.
dear maestro
please tell me briefly what causes the crack on high notes for tenors. I can sing safely up to A4 natural but singing higher gives me 2 options:1)tightening the throat(high larynx) and singing squeezed notes and 2)keeping the larynx low and attempting for high note and cracking....what is wrong with my approach and what should i do???
thanks very much
Hello Franco,
I'm wondering if the lifting of the soft palette has anything to do with the stability of the larynx while singing. In other words, how can I go about TRAINING myself to keep my larynx still while singing?
Thank you for the videos!! :)
You can call me a dull and dumb person, but I think that technics mean almost nothing, practice means all.
When I follow advices I often squeeze my voice.
When I "lean" on my ear, rarely I have such problems.
I mean - we should not think of technics, we should think about quality of singing, about feelings and expressions.
If our voice doesn't sound well, we put it in a wrong pisition or we ask too much of it, or too early.
IMHO.
Thank you for this video, you explain it very understandable! I had taken singing lessons for almost a year but then quit because the things i was thought just didn't feel right for me (it wasn't classical vocal coaching) and i still struggle with the diaphragm singing, sometimes it feels right but the other day, it doesn't. Is this normal, should i just be patient? and my larynx still go up when singing high notes, even if i'm relaxed in the throat, can you help me out?
@TenelliVoiceGuru Seth Riggs has stated that you don´t need to support your voice and he also says that all you need to do is to let the stomach go in when you sing which when I do it makes me disconnect the voice from the body, to press down instead connects the voice and body, but maybe that´s just me.
@TenelliVoiceGuru sorry" use of diaphragm"
@TenelliVoiceGuru But, how do I train myself to keep my larynx still? I mean, I can keep it it still probably to about an E.. But then past the E, I have difficulty maintaining the same tone, while trying to keep my larynx down... How can I KEEP it down for every note I sing??
Nicholas
@TenelliVoiceGuru I missed that part, of course he is wrong if he is saying so and that's why he sounds horrible:)
@maya4406