Breath Support 1
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- Опубліковано 9 вер 2024
- trimblevocalinstitute.com
Fundamentals of Great Vocal Technique:
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Internationally renowned Tenor and Master Voice Teacher, Michael Trimble. 63 years of expertise/performing, teaching and Artist training/acclaimed vocal pedagogue. Career building, vocal literature for aspiring students and experienced professionals.
I’ve been trying to “find” breath control for about a year. My vocal coach explained it to me. I didn’t “get” it- it was like trying to move my ears. What muscles do I use? What exactly am I trying to do? I was confused. I watched several of your “breathing” videos. You explained it so simply, so logically - you made it doable. My vocal coach has confirmed I now have strong breath support. All credit due to you. Thank you. I feel like I’ve found my voice. Life changing.
Have you ever heard your vocal coach perform difficult repertoire ? If not that is why they cannot demonstrate or intelligently present processes. incompetent.
I sing popular music but all these tips work really well for that as well, thank you so much for posting all this information for us
One thing I think Maestro does a great job of communicating is that the "feeling" of support is personalized, but the ingredients are always the same.
Proper support requires a good breath down and back, a steady, continuous stream of air, and 0 muscle activation above the neck. From here, it's just about whatever that combination ends up feeling like in your body/instrument! At least, that's how I interpreted this lesson.
When support is correct, then the most important fundamental is present which is the Onset with proper cord closure.
Mate thank you so much for your videos, I love how you explain singing. You break it down in a way i have never heard.
Thank you, dear teacher and mentor. You always manage to share something new, something different each time you make a video. Thank you for shining the light to vocal freedom and for continually sharing so generously of what you have to each one of us so freely. You always inspire me! Tusind tak!!!
Hey Lovely Lady,
Only those with a desire to be a lifetime student as yourself ( Mr. Pavarotti often made that reference to himself ) can have an understanding and true appreciation for all which the maestro willingly shares from his expansive experiences will study and apply this tremendous blessing of practical fundamentals.
Thank you for sharing your light and all these wonderful methods with the world, Maestro! 💕
Back here after a long while, checking in with ya. Glad to see you still at it my friend. You are a treasure...
Ah Michael this is brilliant!
I love your videos. Have been singing classical for 7 years now, but the identification of sensation and cause & effect is simply genius. Bravo!
I do have a question: I've been taught to use "vomitare" etc. to transition easier into headvoice, and then letting the body fix the rest naturally... Works fine, but do you not see this as necessary when breathing in the back? Or could I do that in combination with leaning on breath. Altso, I learned that we need some open-throat or inhalare la voce to get the perfect amount of overtones
Hi Mr.Trimble! Love your videos and lessons that you teach! It has helped my singing tremendously. I just wanted to ask about more pop styles like register transitions. How do you smooth out the break transition between chest voice and falsetto to make it seem less and smooth. And is it possible to access “mixed voice”?
Salut, Sticks. Look up "LECTURE NUMBER 10" on my UA-cam channel and see if it helps you. I hope so. it talks about how to go smoothly from one register to another. All the best, Michael t
@@Tenoretrimble Thank you so much!!!! Love your videos! Have a wonderful day!!!!
Would this breathing be any good for rock singing?………possible to hit a C 6 as a tenor?
Mr.Trimble for the cough function do you maintain the same amount pressure against the chest through the range of the voice? Such as not increasing the amount of pressure
yes, Shannon, but the problem is that, is order to maintain the exact same pressure on the "point of leaning", the degree of effort in the ribs in the lower back increases as we ascend the scale. The necessity to sufficiently "squeeze/close the lower ribs" (Caruso) is due to the resistance of the tighter closure of the Vocal folds and they produce the higher notes.
Caruso said in his book that the lower ribs in the back "work like a bellows. They open when we inhale into the lower back and squeeze together when we sinig."
This process is best accomplished by singing into a candle flame or into a tissue without allowing any movement whatsoever. only sound is allowed to come out, and the flame or tissue is never disturbed by leaking breath.
is there a way practicing breath support in the car, while driving? I wonder if I still should try it or just give up. thank you so much for all your work you put in those videos
Jutta, remember, we want to inhale into the lower back as deeply and as often as possible until it becomes the only way we inhale. You can do that very well sitting in a car or sitting anywhere in a seat with a back to lean against. In the case of the car, you will actually be helped by the resistance of the area where your lower back rests (leans, presses, pushes, arches) against the seat-back. Just press your back there with each inhalation. But always be safe and drive the car first and foremost! Maybe you can practice deep breathing exercises (Mueller Maneuver, snoring, breath of fire, etc.) at the stop lights. The biggest danger is that you could becom distracted away from attentive driving. It may be safe to practice exaggerated inhalations only at home or somewhere that allows you to safely devote all of your attention to breathing. After a lot of practice, the way of inhaling repeatedly as deeply as possible into the lower back will become the way you breathe habitually for singing and speaking. Good luck and DRIVE SAFELY! Michael t
@@Tenoretrimble thank you! now I know for sure, that I'm not doing something wrong if I'm doing my deep breathing exercises while driving to work. it is of course different from doing at home. but for me its important to do it as often as possible. after weeks and month of trying and experimenting with the breath, it gets better and better and at least I got a feeling of doing it right.
I found out that for my speaking voice it is somehow better to let the belly loose while breathing but for singing it has to be the "nable in" thing. in both cases the breath goes into the back but if I'm talking with the nable in, my belly is getting tight and speaking becomes more strained. it took me a lot of time to figure this out. I hope its not one of these many epiphanies in my development, where days or weeks later I have to admit that I was wrong :)
again, thank you so much for sharing your experience and knowledge.
Jutta, never hold the abdomen or mid-belly in while singing or speaking. Pull/draw it inward while inhaling and let go for speaking and singing. The activity in the front of the body moves from the abdomen to the Epigastrium while singing or speaking. Tetrazzini said "like leaning a ladder against the sternum". Lilli Lehmann said "against the chest". No great singer said to push the abdomen outward like a sleeping baby before singing as far as i know. Every singer I ever interviewed said to pull the abdomen inward while inhaling and let it out while singing or speaking. Caruso called it a "contrary motion". I hope you continue to feel better in your voice. All the best, Michael t
Hello