Mr. Trimble, thank you for sharing these concepts with us today. I've got one question; I recall a teacher introducing me to a concept where the various consonants resonate in the body. For example, P, T & K in the lower ribs of the back and paired with B, D & G (either voiced or unvoiced). Could you elaborate on these ideas or would you be so kind as to direct my attention to a previous video where you address such concepts? Many thanks :-)
To me, this is one of the most nuanced topics of breath support. You breathe back, lean somewhere on the front, and the result is an open throat that lifts up and back. It's almost as if the ladder bounces off the front, creating a second ladder or reaction in the back of the throat. Though I'm sure I'm overcomplicating it for myself, there is one thing I'm sure of. More breath practice will show me the answer. Unrelated, but so cool that Maestro got to study with Helge Roswaenge. Helge's recordings are absolutely ridiculous when it comes to range and resonance.
What i don't understand is, for example: if i put my "ladder" placed on my tailbone, the base side, with the other side on the chest muscles, upper side, from which point should the exhalation start ?🤔 Hope that i made myself clear. Thank you, Mr. Trimble. Greetings from São Paulo, Brasil. God bless you and all your family.
No exhalation starts, but singing starts. if you start an exhalation, stop it by shutting it off on the chest. The base of the ladder is the base of the air-column and provides breath for. deep color and supply. the control point is the the "breath-stop" on the sternum in this case. MT
Mr Trimble, do you think one should train with vocal warmups alongside this important breathe knowledge. I guess I’m asking what’s a good ratio of dedicated practice, % breathing/yoga , % vocal warmups(with applied breathing). Also do you believe one should breathe as if we are singing 24/7 like making it as habitual as good posture?
Salut, Ethan. You are going to breathe every minute of your life, anyway, so why not develop a way to breathe that will become more and more automatic? Practice a method that will provide you with an endless supply of correct throat shapes or phonation forms, without any muscular action in the throat, jaw or tongue? You will feel like a singing ventriloquist after a while. The "open throat" used to be vertical and was caused by a reaction to the extreme action of deep breathing into the lower ribs in the lower back with the abdomen moving inward during the inhalation. The normal exhalation would come from the lowest part of the back all the time, singing or not singing. While singing, the breath would be adequately "pressed" (Mattia Bastianni) against the chest with sufficient strength to provide a control method to equalize the resistance of the vocal folds. Caruso called the pressure against the lower chest or the sternum or the upper belly a "contrary emission of the breath" (contrary to the way the breath was inhaled into the lower back). He described the action in the lower back while singing as "squeezing the lower ribs together as necessary to maintain a consistency of tone color, legato, and total freedom of the throat, jaw, and tongue". Tetrazzini said that the first drop of breath should be inhaled "into the lower rear quadrant of the lungs". The column of air provided by the deep inhalation into the lower lungs was then "leaned forward and propped up against the sternum". She described the breath function as "propped like a ladder against a wall". The bottom of the ladder should be sitting in the lower ribs in the back and the top of the ladder should be "propped up against the sternum". This way of breathing should be developed and practiced until it is habitual and getting better as time goes by, with more strength and capacity and control. Caruso described breathng in singing as "the massive power of the respiration required for great singing". Gigli played a saxophone, Martinelli played a clarinet, Wunderlich played a French Horn for 30 years, Rosvaenge did 3 hours of Yoga every day for 55 years, Robert Merrill did two hours of Yoga every day and performed actively until age 88, I'm 84 and I still sing all day almost every day. We can understand how breathing used to be the secret to great signing,,, Sutherland, Melba, Caruso, Corelli and Flagstad were all long-distance swimmers. Ghiaurov played clarinet and trombone. Jerome Hines was an ocean, long-distance swimmer and a free-diver. The list of singers who did some kind of exaggerated physical thing that required extreme, deep breathing goes on and on. Many singers, including Richard Tucker and Leonard Warren, did a walking exercise that developed the breathing for singing. Caruso called it the 40-step walk, breathing inward for 10 steps, holding in and full for 10 steps, exhaling it for 10 steps, and holding empty for 10 steps. I know you get the idea, You will have to do all you can to develop the "massive breathing" as described by Caruso. Swim when you can if the Pandemic permits it, walk every day and breathe , play a brass or wind instrument as much as you can, and be sure to sing only if the breathing is strong enough to not require help from the throat, jaw, or tongue. I hope this helps. it is not possible to decide percentages unless you have the whole day every day to do your breath development work. so, you do all you can, when you can, but do it for sure! you will be amazed after a solid year's work on breathing into the lower back. Good luck and all the best, Michael t
I've never met him, but listen often to his videos. Look up Ivan Kaxlovsky, too. He is also an old geezer in his mid-nineties and is still singing ad far as i know. I'm 84 and plan to outlast those two miracle men! MT
It a very good place to "lean the breath" ,along with many others. Max Lorenz, the Heldentenor who sang the big Wagner roles in Berlin during the second world war, used that placement of the 'breath-stop". Check out all of the videos I have uploaded on UA-cam. The possible "breath-stop" locations are all demonstrated. MT
❤ Thank you
Wonderful as always, maestro! ♥
🙏This one hit home Coach! Thank you so much for continuing to help us explore! ❤🎵🥁🤯
Thank you!
Mr. Trimble, thank you for sharing these concepts with us today.
I've got one question; I recall a teacher introducing me to a concept where the various consonants resonate in the body. For example, P, T & K in the lower ribs of the back and paired with B, D & G (either voiced or unvoiced). Could you elaborate on these ideas or would you be so kind as to direct my attention to a previous video where you address such concepts?
Many thanks :-)
To me, this is one of the most nuanced topics of breath support. You breathe back, lean somewhere on the front, and the result is an open throat that lifts up and back. It's almost as if the ladder bounces off the front, creating a second ladder or reaction in the back of the throat.
Though I'm sure I'm overcomplicating it for myself, there is one thing I'm sure of. More breath practice will show me the answer.
Unrelated, but so cool that Maestro got to study with Helge Roswaenge. Helge's recordings are absolutely ridiculous when it comes to range and resonance.
Bravo!
❤️🙏
❤️❤️❤️
What i don't understand is, for example: if i put my "ladder" placed on my tailbone, the base side, with the other side on the chest muscles, upper side, from which point should the exhalation start ?🤔
Hope that i made myself clear.
Thank you, Mr. Trimble.
Greetings from São Paulo, Brasil.
God bless you and all your family.
No exhalation starts, but singing starts. if you start an exhalation, stop it by shutting it off on the chest. The base of the ladder is the base of the air-column and provides breath for. deep color and supply. the control point is the the "breath-stop" on the sternum in this case. MT
@@Tenoretrimble THANK YOU, PROFESSOR!
Mr Trimble, do you think one should train with vocal warmups alongside this important breathe knowledge. I guess I’m asking what’s a good ratio of dedicated practice, % breathing/yoga , % vocal warmups(with applied breathing). Also do you believe one should breathe as if we are singing 24/7 like making it as habitual as good posture?
Salut, Ethan. You are going to breathe every minute of your life, anyway, so why not develop a way to breathe that will become more and more automatic? Practice a method that will provide you with an endless supply of correct throat shapes or phonation forms, without any muscular action in the throat, jaw or tongue? You will feel like a singing ventriloquist after a while. The "open throat" used to be vertical and was caused by a reaction to the extreme action of deep breathing into the lower ribs in the lower back with the abdomen moving inward during the inhalation. The normal exhalation would come from the lowest part of the back all the time, singing or not singing. While singing, the breath would be adequately "pressed" (Mattia Bastianni) against the chest with sufficient strength to provide a control method to equalize the resistance of the vocal folds. Caruso called the pressure against the lower chest or the sternum or the upper belly a "contrary emission of the breath" (contrary to the way the breath was inhaled into the lower back). He described the action in the lower back while singing as "squeezing the lower ribs together as necessary to maintain a consistency of tone color, legato, and total freedom of the throat, jaw, and tongue". Tetrazzini said that the first drop of breath should be inhaled "into the lower rear quadrant of the lungs". The column of air provided by the deep inhalation into the lower lungs was then "leaned forward and propped up against the sternum". She described the breath function as "propped like a ladder against a wall". The bottom of the ladder should be sitting in the lower ribs in the back and the top of the ladder should be "propped up against the sternum". This way of breathing should be developed and practiced until it is habitual and getting better as time goes by, with more strength and capacity and control. Caruso described breathng in singing as "the massive power of the respiration required for great singing". Gigli played a saxophone, Martinelli played a clarinet, Wunderlich played a French Horn for 30 years, Rosvaenge did 3 hours of Yoga every day for 55 years, Robert Merrill did two hours of Yoga every day and performed actively until age 88, I'm 84 and I still sing all day almost every day. We can understand how breathing used to be the secret to great signing,,, Sutherland, Melba, Caruso, Corelli and Flagstad were all long-distance swimmers. Ghiaurov played clarinet and trombone. Jerome Hines was an ocean, long-distance swimmer and a free-diver. The list of singers who did some kind of exaggerated physical thing that required extreme, deep breathing goes on and on. Many singers, including Richard Tucker and Leonard Warren, did a walking exercise that developed the breathing for singing. Caruso called it the 40-step walk, breathing inward for 10 steps, holding in and full for 10 steps, exhaling it for 10 steps, and holding empty for 10 steps. I know you get the idea, You will have to do all you can to develop the "massive breathing" as described by Caruso. Swim when you can if the Pandemic permits it, walk every day and breathe , play a brass or wind instrument as much as you can, and be sure to sing only if the breathing is strong enough to not require help from the throat, jaw, or tongue. I hope this helps. it is not possible to decide percentages unless you have the whole day every day to do your breath development work. so, you do all you can, when you can, but do it for sure! you will be amazed after a solid year's work on breathing into the lower back. Good luck and all the best, Michael t
Hi Michael, do you ever met Angelo Lo Forese? there's many of his videos singing Nessun Dorma at age 95
I've never met him, but listen often to his videos. Look up Ivan Kaxlovsky, too. He is also an old geezer in his mid-nineties and is still singing ad far as i know. I'm 84 and plan to outlast those two miracle men! MT
Every time I hear about someone who is singing into their 70's, 80's and 90's, I'm inspired. I want to sing for that long!
Dear Michael, would you recommend leaning on the third eye as a point of appoggio?
It a very good place to "lean the breath" ,along with many others. Max Lorenz, the Heldentenor who sang the big Wagner roles in Berlin during the second world war, used that placement of the 'breath-stop". Check out all of the videos I have uploaded on UA-cam. The possible "breath-stop" locations are all demonstrated. MT
@@Tenoretrimble thank you!