Hi Mr. Tennelli, Your explanations are very rich and help me a lot: appoggio, placement, ressonance, voice "escaping". I like your approach about the natural flow of the things (and technique of course). I was resisting to listen to my body, hurting my vocal chords to adapt myself to the others, loosing my personality. So I have realized that something was very wrong, I have to find myself again for good. Thank you so much. Regards
This is fantastic. I was a rare case in the sense that i had a very natural placement when i was very young as a baritone. Unfortunately i wanted to be a tenor and many teachers thought i was a tenor. It ruined my voice. Big mistake! It has taken me about 8 years to get back what i originally had within 5-6 months of training. Ignorance is a voice killer!
Спасибо Вам, Франко! Наконец я смогла послушать Вас на русском языке, благодаря переводчику яндекс. А я всё искала человека, кто бы перевёл. Но теперь я буду стараться учиться у Вас. Знаю только двоих учителей итальянской техники пения. Это Франко Тенелли и Виктория, педагог вокалист из Италии на UA-cam канале "Дом оперы".
Thank you for the videos. I retired 5 years ago and took up singing. My teacher teaches this appogio, she doesn't call it that! . She will not even categorise my voice yet as there isn't enough of it. I was singing soprano but couldn't articulate up there and the sound was horribly thin. Now I feel I have access to my natural voice most of the time. Core muscles take time to develop. . I ride and this 'appogio' is definitely transferrable to the art of horseriding and martial arts. Sue
I can hear your singing when you play the guitar it’s all about musicality a great singer is a painter of sound but first you must start with a reliable proper technique Bravo Mr Tenelli you speak and practice the truth
Thank you very much for this helpful video. I have just in the past few days begun to really pay careful attention to my diaphragm and posture in the way you describe, while doing singing exercises within a comfortable range. Early days but I can feel a new, easier sound coming through.
@MrJackylimzw I'm not also sure that every teacher claiming appoggio technique realy knows and teaches it. Majority of teachers who say we teach appoggio teach combination of placement and support. I remind you that appoggio is one registral singing and always belonged to very few elite singers who are beautiful minority in the world of singing(around 5% of pro singers apply appoggio) Appoggio becomes a fancy word and some starting claiming a knowledge about it without having a clue:)
@TenelliVoiceGuru One nuance: "appoggiare sul fiato" in Italian means leaning upon a breath. It doesn't mean "appoggio" as technique. Appoggio as technique is ballanced diaphragmical way of support Appoggio as Italian word: lean upon so when you are leaning upon your breath(or vocal folds) it's sul fiato:no diaphragm when you are leaning upon your diaphragm that's diaphragmical way
When I take a deep breath larinx drops automatically(yawn).Larinx has to be a in a low posision before the act of phonation. Dropping larinx is not a problem, problem of keeping it there without tention in a throat
I'd love to see what kind of exercises exactly. Actors usually work on face expressions, especially comedians and they might need it. as for singing we learn how to relax face and tongue and all the muscles that are nor involved in singing process
@taeleo reinforsed falsettosetto is still a falsetto. There are two types of falsetto 1. Vocal folds vibration without full closure(most in the chest zone) 2.Parcial vocal folds vibration(occurs in passaggio and higher range-head zone) most of the singers wrongly think falsetto lies in the head resonance only I repeat:Appoggio way is "Chiaro scuro" timbre all the way, no divisions
@Bomnus We are pushing down the "D" to ballance, not to let it rise or collapse. Sensations could be different(upfront, back, all around). If you are already pruducing chiaro scuro sound(watch my vocal terms dictionary:Chiaro scuro) that means that diapgragm is already opposing pressure from below. One needs to learn not just to that but how dynamicaly oppose pressure from below, when needed, to keep perfect, unforsed and yet, powerful sound. Diapgragm in appoggio technique is restless
@TenelliVoiceGuru Thank you maestro. I usually inhale through mouth. I tried to inhale through nose and I feel that it's easier to get the chiaro-scuro balanced. :)
My friend taught me appoggio. He just kept saying do not sing from the throat. I understand that its with the body now. You talk with your body and sing with your body. The energy rocks you. You just can't get it tell you feel it.
@MrJackylimzw to master, the whole life:) I usualy have my students understanding of Appoggio after 6month, applying it after 1 year and fully implimenting it within 2 yaers. Talented student doesn't need to master appoggio staying with his teacher for endless yaers. After certain period my students become their own teachers and they need me only in coaching and little adjustments. Lily Lehmann during the half of her career sang without appoggio. She understood and applied appoggio later
@Honken "Sul fiato" as a vocal term is confusing and used with different meanings. I take Begnamino Gigli's understanding of a term :Singing without a diaphragm on the breath.
In opera falsetto is used just as a caracter element or as a head voice(supported high falsetto, which is strong). Of cousre no chest resonance with high falsetto
Mandolina has small body but it's louder than acoustic guitar. Big instruments have deep and dark tone with predominant of low frequencies. Small instruments have a brighter tone with predominant of high frequencies. Singing with high larynx also may be loud, but only in high notes. This tone is not suitable for classical singers, because it's sounds like shouting or yelling, but contemporary singers use it. It's called belting. Also contemporary concert halls and stadiums aren't destined for singing without microphone and playing instrument without amplifier.
Thank you for your wonderful videos! I'm learning so much! I just have a suggestion: those small videos where you sing to give an example of falsetto singing and classical singing were a bit distracting. I really wanted to hear to what you were saying, so maybe you can just show those videos separately in the future :)?
Closed mouth sound should have chiaro-scuro almost as bright if you were singing open mouth vowel. To reach that you have to practice a lot's of closed mouth excercises. Majority of even professional singers don't know how to sing with closed mouth with full chiaro-scuro approach. For the most singers closed mouth shows only so called chest register, dark deep sound without squillo(projection/chiaro)
Excellent video as always Franco! Two questions; 1) Sul fiato. My teacher studied with Pola and Tagliavini, both used the term 'sul fiato' to describe singing on the breath (as in breath pacing, resting on appoggio ect). I've also heard Bergonzi described it as the way he utilizes his breath. Is it just a loss in translation or are there different ideas of 'sul fiato'? 2) When did you stop using classical/Spanish guitars? I've only seen you use western/steel. Cheers! :)
Hi Franco, you are such a wonderful teacher. May I ask if you are giving private inline teaching at the moment? I am learning operatic singing as a beginner, and taking singing as a devoted hobby apart from my own profession. I would be an honor if I could become your student.
Hi Mr Tenelli, have been following your video channel all these while and am grateful to have learned tremendously from you. With reference to your teachings about the Appoggio method, how can we exactly tell if we are using this approach? By the way, will Anna Netrebko be an example of singer who employs the placement technique?
Maestro - ty for creating these videos. I have a question, if I practice Appogio, can I apply it in Contemporary music (pop, rnb, etc) ? Ty in advance.
At the same time, what is the average time that a classical singer needs to spend to master the Appoggio method? It has been close to 2 years since I started picking up vocal lessons from my current coach. But I have been getting inconsistent results during my practices. Have been experiencing difficulties developing my "vocal ear" at times. Thanks for enlightening me!
Mr Tenelli I am a bass-baritone and I have have problems with my high notes. I have a F2 to a A#4, but I dont understand how to place correctly the voice in the "mascara" to sing the high notes and the passagio area. What I can do? This is so hard to me.
So does that means appogio is not good when you want to sing pop songs because one natural voice will sound weird . Or it means I can use my natural voice and other registers together so I will sound better, stronger and more range while singing pop songs?
Dear Franco, I am at sea with the explanation about falsetto You have said it wouldn't carry. I have been sure (at least for the last 8 years) that falsetto carries a lot, but is too weak to make a good chesty resonance. Am I wrong? (My falsetto consists from breathy vowels.)
I'm still struggling with pre-conceived ideas about my own voice. I can't help that terrible fear that I may be a low voice and that, as you Franco put it, I might sound like a man. I would certainly hope that my voice does not sound like that. But, I do take comfort in your tip that its better not to think in terms of any voice type and that natural resonance doesn't necessarily indicate anything about one's voice. Maybe over time, my voice (which, I THINK - as I could be wrong, is an alto voice) will be able to access natural higher notes rather than just those ugly - almost murky low notes that some people seem to care for. (This is just my opinion, of course) The hardest part is maybe trying not to be disheartened to think I will forever be stuck singing just low notes and the high notes will never come. :( Who wants to remain in the basement stuck in the mire all the time - as it were. Anyway, your tip on trying to be patient is a comfort and hopefully, over time, my voice will be able to go up and, ideally, doesn't or will never sound like a man's voice when either speaking or singing.
+EmilyGreene1984 First, do you want to sing opera? If not, you can sing more lightly, which I've found leads to the development of a kind of elasticity in the voice (if you find Pavarotti's rendition of La Donna Mobile where he is in period costume and it looks like it was done in the 80s you will hear great elasticity). The "problem"' is that you have to develop the proper muscle coordination, but it can't happen immediately (I'm assuming you have good breath support), so what do you do in the meantime? Suppose you want to sing songs where you have to sing notes that are too high for you at the moment? I used the "pure" vowels to help me get there, as well as trying to mimic different kinds of songs, but you have to have patience and also forcing things is not the way to go. At some point I realized that I could get where I wanted with less force, and instead I could "feel" the muscle configurations, so I guess "muscle memory" developed. One thing you can do is to just sing songs that work for you (sound reasonably good and you aren't forcing anything), then move on to ones that have some notes that are a bit higher, but also work on the pure vowels. I would sing them as high an as low as possible, but without forcing. The Italian e (as in eh) worked very well, once I figured out how to lighten it up, which seems to have involved learning a new muscle configuration, because there was a lot of squillo at that point. Good luck!
+MyristicMystic I have tried to learn classical/operatic singing as well as non-classical. I still don't know really what my voice is. Someone said that they thought I was below contralto and possibly an "oktavistka" (a female basso profondo) and the idea of it.... it doesn't mesh with me. Hopefully, that person was mistaken. Its not easy being a low-voiced woman and singing always low or being type-casted to sing low, as well as being regarded as sounding "like a man", "sexy", "hooty", "transsexual", "dark", etc. Some women may like it or not care, but... not all do. Musicality wise, its also quite limiting because why should one feel forced to sing men's tenor, baritone, or bass arias when one wants to sing something that would be otherwise sung by a soprano, or mezzo.
Why don't you just let me listen to it instead of putting yourself down and creating in your own mind a negative image of your voice that may not be true at all?
I love your videos Maestro Tenelli. I do have a question for you however. I am a 21 year old, developing, tenor and as I go up my range I notice it gets very difficult for me to "flip" the voice into head voice to sing the higher tenor notes. It always seems to want to stay in chest. Any advice on how to fix this problem?
Ty O If you are using only chest voice(Scuro) the flip is enevitable. You have to train voice in chiaro scuro mode, then you don't need to flip, just to support with apoggio
Thanks for the advice Maestro. Whenever I did the chiaro scuro warm-ups with you on UA-cam I was able to successfully sing up to the high B, which was extremely exciting for me, so I do thank you for that :)
I am in no way trained or formally educated in music but have you tried yodelling? It helps me alot in training my "flip" into head voice or falsetto, now I can flip up anytime I want as the muscles are well trained and I practise everyday. Try it out 👍
Ciao! Credo di aver capito come che il falsetto si usa cantando sul fiato eppure l'ho sentito usato da tenori per arrivare a certe note come il Fa 5. Di sicuro ho inteso male io, potresti sciogliermi questo dubbio: il falsetto nel canto lirico si usa opoure no?
Can one benefit from Appogio (One register singing) who doesn't want to sing in Opera? Who wants to sing sometimes in head voice, chest , mixed voice...
Maestro... It's so hard learn how to sing in the right way! What can do, we, the mexicans who wants really hard learn to sing? Who could teach us with this technics?
If I’m a rock singer how should I use my support? If i do with the natural placement the sound is not good, too much chiaro-scuro and is hard for me reach high notes
David Zeta Chest voice is disturbing for high notes. Try head voice. How to develop? In a day, you will learn and get it. Humming is the key. Try 6 hours or more. Send noise ( ringing) up to your head, in other words resonate your skull. After many hours, try to sing high notes, you will be surprised for easy projection and free gaining. Very high, high notes C5, D5, E5...... Impossible without Head Voice. Modern Bell Canto Technique.
I'm a 66 yr old basso who is losing strength in my epigastrium area and abs below. My muscles are solid as rock. Maybe I am applying too much abdominal pressure, but it's difficult to sustain a line after 2 minutes ....... I feel like I'm missing something important but I don't know what it is.... I have a healthy unconstricted sound, but it feels as if my vocal cords are TOO tight.
marly loco sure, for women too, I mean opera voices like Mezzo, Dramatic soprano and full lyric one. As for colloratura and utra lyric voices, they cen get away quite well without active diaphragm(Appoggio)
It might not help, because singers aren't supposed to strain their neck while singing. The face and the neck should be relaxed. Strengthening the diaphragm, however, would help more.
You probably sing with just supported chest voice without chiaro-scuro. at Bb4 your vocal chords cannot sustain the pressure so you either have to lear how to cover it or try to find your natural chairo scuro timber again..
Appoggio is not a style of music it's the way of singing without forcing(in any style) and the way placement works(one placement only). What do you really mean is appoggio with chiaro -scuro sound, then it's not applicable to pop or rock
This guy sounds awesome and some of his advice is great. However, he says to be open minded, but he's clearly made up his mind about the "correct' way to sing. I don't want to argue with anybody here, but have any of you researched Catherine Sadolin? There are many teachers and students of hers that can produce ALL vocal styles in 1 register. They can also produce any distortion (rock & metal music) without any vocal wear whatsoever. Just a thought.
I think he knows very well that it is a muscle :) It's just a way of formulating it. For some reason everybody says it like that. What he actually means is breathing using your main muscle designed for that purpose, the diaphragm, with an open chest, and avoid using any unnecessary secondary muscles, like for example raising your shoulders. Of course you breathe into your lungs. I hope i could help you understand better, and that you were able to overcome your negativity a bit in the 5 months since you wrote that comment^^ he is a really good teacher. Happy New Year :)
You are just an idiot my friend! he didn't say breath into the diaphragm.you need to control your breath with your diaphragm :-) all the voice teachers and good singers know it .
***** I've read and heard something about it , and i think the concept of Valsalva Maneuver is the same as concept of appoggio ( This is my Personal impressions ) . its all depend on what you looking for ? yeah you right when you have your diaphragm activated your vocal cords getting closed . and absolutely because you have not direct brain control on your vocal cords you need too manipulate them with other controls such as breath and Diaphragm. If you looking for the right way for singing don't doubt about appoggio . appoggio and diaphragmatic control is the mother of singing ;-)
I think people should start saying breath AGAINST the diaphragm instead of INTO the diaphragm. Against the diaphragm sounds better as the lungs are pressing onto the diaphragm.
Thank you for your generosity of spirit and for sharing your experience and knowledge.
You're the best, beautiful voice, you know your craft backwards and forwards. You embarrass everyone else on youtube trying to teach singing.
Both him and Michael Trimble, huge resources
Hi Mr. Tennelli,
Your explanations are very rich and help me a lot: appoggio, placement, ressonance, voice "escaping". I like your approach about the natural flow of the things (and technique of course). I was resisting to listen to my body, hurting my vocal chords to adapt myself to the others, loosing my personality. So I have realized that something was very wrong, I have to find myself again for good.
Thank you so much.
Regards
You are a wonderful teacher Franco. Thank you for your generous wealth of information and guidance.
This is fantastic. I was a rare case in the sense that i had a very natural placement when i was very young as a baritone. Unfortunately i wanted to be a tenor and many teachers thought i was a tenor. It ruined my voice. Big mistake! It has taken me about 8 years to get back what i originally had within 5-6 months of training. Ignorance is a voice killer!
Best UA-cam voice teacher, even for women. Thanks, you helped me a lot! Exercises starts at 15:25
It's better to watch from the beginning than jump to the exercises. Half knowledge is dangerous.
I know im ten years late but these videos are amazing. hope you are doing well Tenelli sensei
So nice to see people actually sharing this information. Thank you, maestro.
As a developing singer who has a natural affinity for the guitar, your guitar-to-stylistic-singing-analogies were a "eureka!" moment. Thank you
Спасибо Вам, Франко! Наконец я смогла послушать Вас на русском языке, благодаря переводчику яндекс. А я всё искала человека, кто бы перевёл. Но теперь я буду стараться учиться у Вас. Знаю только двоих учителей итальянской техники пения. Это Франко Тенелли и Виктория, педагог вокалист из Италии на UA-cam канале "Дом оперы".
Mr. Tenelli thank you very much for this series of videos
Thank you so much Mr. Tenelli. I always apprecaite your time and trouble to make these videos.
Thank you for the videos. I retired 5 years ago and took up singing. My teacher teaches this appogio, she doesn't call it that! . She will not even categorise my voice yet as there isn't enough of it. I was singing soprano but couldn't articulate up there and the sound was horribly thin. Now I feel I have access to my natural voice most of the time. Core muscles take time to develop.
. I ride and this 'appogio' is definitely transferrable to the art of horseriding and martial arts.
Sue
I can hear your singing when you play the guitar it’s all about musicality a great singer is a painter of sound but first you must start with a reliable proper technique
Bravo Mr Tenelli you speak and practice the truth
Lovely lesson Mr Tenelli, thanks very much...much appreciated...from Aust/nz
Thank you very much for this helpful video. I have just in the past few days begun to really pay careful attention to my diaphragm and posture in the way you describe, while doing singing exercises within a comfortable range. Early days but I can feel a new, easier sound coming through.
Great work !Thank you so much !
Thank you again, Maestro.
Your examples are fantastico!
franco, great videos, thanks for sharing your passion!
@MrJackylimzw I'm not also sure that every teacher claiming appoggio technique realy knows and teaches it. Majority of teachers who say we teach appoggio teach combination of placement and support. I remind you that appoggio is one registral singing and always belonged to very few elite singers who are beautiful minority in the world of singing(around 5% of pro singers apply appoggio) Appoggio becomes a fancy word and some starting claiming a knowledge about it without having a clue:)
@TenelliVoiceGuru One nuance: "appoggiare sul fiato" in Italian means leaning upon a breath.
It doesn't mean "appoggio" as technique.
Appoggio as technique is ballanced diaphragmical way of support
Appoggio as Italian word: lean upon
so when you are leaning upon your breath(or vocal folds) it's sul fiato:no diaphragm
when you are leaning upon your diaphragm that's diaphragmical way
Watching after all these years again and it's like a refreshal course. Thanks a lot sir. Hope you are well? Been long since you last posted a video.
Damn it, gotta leave to school but video already seems to be very informative and interesting. As always. Love your work Mr. Tenelli!!!
When I take a deep breath larinx drops automatically(yawn).Larinx has to be a in a low posision before the act of phonation. Dropping larinx is not a problem, problem of keeping it there without tention in a throat
Great master!!! Grazie
Fantastic advice! :)
bravo e chiaro..
Grazie mille maestro!!
Thank you, maestro...
@TenelliVoiceGuru Thank you very much for your answer master, has been of great help.
a hug
I'd love to see what kind of exercises exactly. Actors usually work on face expressions, especially comedians and they might need it. as for singing we learn how to relax face and tongue and all the muscles that are nor involved in singing process
Thanks Franco
@taeleo reinforsed falsettosetto is still a falsetto. There are two types of falsetto
1. Vocal folds vibration without full closure(most in the chest zone)
2.Parcial vocal folds vibration(occurs in passaggio and higher range-head zone)
most of the singers wrongly think falsetto lies in the head resonance only
I repeat:Appoggio way is "Chiaro scuro" timbre all the way, no divisions
@Bomnus We are pushing down the "D" to ballance, not to let it rise or collapse.
Sensations could be different(upfront, back, all around). If you are already pruducing chiaro scuro sound(watch my vocal terms dictionary:Chiaro scuro) that means that diapgragm is already opposing pressure from below. One needs to learn not just to that but how dynamicaly oppose pressure from below, when needed, to keep perfect, unforsed and yet, powerful sound.
Diapgragm in appoggio technique is restless
Soooooo helpful
@TenelliVoiceGuru Thank you maestro. I usually inhale through mouth. I tried to inhale through nose and I feel that it's easier to get the chiaro-scuro balanced. :)
Thank you very much
Thanks a lot.
Spasibo,
My friend taught me appoggio. He just kept saying do not sing from the throat. I understand that its with the body now. You talk with your body and sing with your body. The energy rocks you. You just can't get it tell you feel it.
oooh francisco tarrega at the end cool
@MrJackylimzw to master, the whole life:) I usualy have my students understanding of Appoggio after 6month, applying it after 1 year and fully implimenting it within 2 yaers.
Talented student doesn't need to master appoggio staying with his teacher for endless yaers. After certain period my students become their own teachers and they need me only in coaching and little adjustments. Lily Lehmann during the half of her career sang without appoggio. She understood and applied appoggio later
@Honken "Sul fiato" as a vocal term is confusing and used with different meanings. I take Begnamino Gigli's understanding of a term :Singing without a diaphragm on the breath.
“Ignorant chorus masters” I love this guy!
In opera falsetto is used just as a caracter element or as a head voice(supported high falsetto, which is strong). Of cousre no chest resonance with high falsetto
Mandolina has small body but it's louder than acoustic guitar. Big instruments have deep and dark tone with predominant of low frequencies. Small instruments have a brighter tone with predominant of high frequencies. Singing with high larynx also may be loud, but only in high notes. This tone is not suitable for classical singers, because it's sounds like shouting or yelling, but contemporary singers use it. It's called belting. Also contemporary concert halls and stadiums aren't destined for singing without microphone and playing instrument without amplifier.
Thank you for your wonderful videos! I'm learning so much! I just have a suggestion: those small videos where you sing to give an example of falsetto singing and classical singing were a bit distracting. I really wanted to hear to what you were saying, so maybe you can just show those videos separately in the future :)?
Closed mouth sound should have chiaro-scuro almost as bright if you were singing open mouth vowel. To reach that you have to practice a lot's of closed mouth excercises.
Majority of even professional singers don't know how to sing with closed mouth with full chiaro-scuro approach.
For the most singers closed mouth shows only so called chest register, dark deep sound without squillo(projection/chiaro)
are you talking about personal sensations or sound production?
Excellent video as always Franco! Two questions;
1) Sul fiato. My teacher studied with Pola and Tagliavini, both used the term 'sul fiato' to describe singing on the breath (as in breath pacing, resting on appoggio ect). I've also heard Bergonzi described it as the way he utilizes his breath. Is it just a loss in translation or are there different ideas of 'sul fiato'?
2) When did you stop using classical/Spanish guitars? I've only seen you use western/steel.
Cheers! :)
@marcelyuda mouth usualy dries our throat faster then through mouth.
Hi Franco, you are such a wonderful teacher. May I ask if you are giving private inline teaching at the moment? I am learning operatic singing as a beginner, and taking singing as a devoted hobby apart from my own profession. I would be an honor if I could become your student.
@marcelyuda Better through nose but ot a must
Hi Mr Tenelli, have been following your video channel all these while and am grateful to have learned tremendously from you. With reference to your teachings about the Appoggio method, how can we exactly tell if we are using this approach? By the way, will Anna Netrebko be an example of singer who employs the placement technique?
Master, I have understood that the reinforced falsetto could help to the dark voices to lighten passenger area.
Greetings from Chile
Great job ! I'm just watching these series videos . Actually I'm really confused because I'm now a baritone and dont have a good technique .
I'm 25 years old .
Maestro - ty for creating these videos. I have a question, if I practice Appogio, can I apply it in Contemporary music (pop, rnb, etc) ? Ty in advance.
What song are you playing on guitar
At the same time, what is the average time that a classical singer needs to spend to master the Appoggio method? It has been close to 2 years since I started picking up vocal lessons from my current coach. But I have been getting inconsistent results during my practices. Have been experiencing difficulties developing my "vocal ear" at times. Thanks for enlightening me!
Hi,
Would you please tell me what notes on the piano should I start with to find natural resonance for a female voice?
can you use appoggio on non-classical music?
Why don't you come to mexico to give us classes, pleaseeeeeeeee :( We need it so much!!
hello what were you playing on the acoustic guitar at 25:00 ? thanks :))
Mr Tenelli I am a bass-baritone and I have have problems with my high notes. I have a F2 to a A#4, but I dont understand how to place correctly the voice in the "mascara" to sing the high notes and the passagio area. What I can do? This is so hard to me.
how about teachers like Richard Miller explaining appoggio expanding the ribs outward? what is your opinion on that maestro?
May I apply this technique as a countertenor? Or is it in contradiction with Natural Placement? Thank you for the videos though.
Здравствуйте, а есть где-нибудь русская версия? К сожалению английский плохо знаю((((
Does strengthening the sternocleidomastoids actually help your voice?
Question: Rockwell Blake, Florez etc. Do these tenors use apoggio singing are do they sing with a different technique?
So does that means appogio is not good when you want to sing pop songs because one natural voice will sound weird .
Or it means I can use my natural voice and other registers together so I will sound better, stronger and more range while singing pop songs?
I want to be a musical theatre singer does anything know anything about using operatic technic with musical theatre
How can I get in touch with you, Franco? Thanks!
Maestro, before you start singing, how do you "begin" the appoggio? Is it always there? Or do you take a deep breath and keep the chest out etc?
Dear Franco,
I am at sea with the explanation about falsetto You have said it wouldn't carry.
I have been sure (at least for the last 8 years) that falsetto carries a lot, but is too weak to make a good chesty resonance. Am I wrong?
(My falsetto consists from breathy vowels.)
I'm still struggling with pre-conceived ideas about my own voice. I can't help that terrible fear that I may be a low voice and that, as you Franco put it, I might sound like a man. I would certainly hope that my voice does not sound like that. But, I do take comfort in your tip that its better not to think in terms of any voice type and that natural resonance doesn't necessarily indicate anything about one's voice. Maybe over time, my voice (which, I THINK - as I could be wrong, is an alto voice) will be able to access natural higher notes rather than just those ugly - almost murky low notes that some people seem to care for. (This is just my opinion, of course) The hardest part is maybe trying not to be disheartened to think I will forever be stuck singing just low notes and the high notes will never come. :( Who wants to remain in the basement stuck in the mire all the time - as it were. Anyway, your tip on trying to be patient is a comfort and hopefully, over time, my voice will be able to go up and, ideally, doesn't or will never sound like a man's voice when either speaking or singing.
+EmilyGreene1984 First, do you want to sing opera? If not, you can sing more lightly, which I've found leads to the development of a kind of elasticity in the voice (if you find Pavarotti's rendition of La Donna Mobile where he is in period costume and it looks like it was done in the 80s you will hear great elasticity). The "problem"' is that you have to develop the proper muscle coordination, but it can't happen immediately (I'm assuming you have good breath support), so what do you do in the meantime? Suppose you want to sing songs where you have to sing notes that are too high for you at the moment? I used the "pure" vowels to help me get there, as well as trying to mimic different kinds of songs, but you have to have patience and also forcing things is not the way to go. At some point I realized that I could get where I wanted with less force, and instead I could "feel" the muscle configurations, so I guess "muscle memory" developed. One thing you can do is to just sing songs that work for you (sound reasonably good and you aren't forcing anything), then move on to ones that have some notes that are a bit higher, but also work on the pure vowels. I would sing them as high an as low as possible, but without forcing. The Italian e (as in eh) worked very well, once I figured out how to lighten it up, which seems to have involved learning a new muscle configuration, because there was a lot of squillo at that point. Good luck!
+MyristicMystic I have tried to learn classical/operatic singing as well as non-classical. I still don't know really what my voice is. Someone said that they thought I was below contralto and possibly an "oktavistka" (a female basso profondo) and the idea of it.... it doesn't mesh with me. Hopefully, that person was mistaken. Its not easy being a low-voiced woman and singing always low or being type-casted to sing low, as well as being regarded as sounding "like a man", "sexy", "hooty", "transsexual", "dark", etc. Some women may like it or not care, but... not all do. Musicality wise, its also quite limiting because why should one feel forced to sing men's tenor, baritone, or bass arias when one wants to sing something that would be otherwise sung by a soprano, or mezzo.
+EmilyGreene1984 I would love to listen to you vocalizing and warming up.
It is an ugly voice, and I wouldn't want anyone to hear it, outside of a qualified voice teacher to naturally make it lighter and higher and feminine.
Why don't you just let me listen to it instead of putting yourself down and creating in your own mind a negative image of your voice that may not be true at all?
I love your videos Maestro Tenelli. I do have a question for you however. I am a 21 year old, developing, tenor and as I go up my range I notice it gets very difficult for me to "flip" the voice into head voice to sing the higher tenor notes. It always seems to want to stay in chest. Any advice on how to fix this problem?
Ty O If you are using only chest voice(Scuro) the flip is enevitable. You have to train voice in chiaro scuro mode, then you don't need to flip, just to support with apoggio
Thanks for the advice Maestro. Whenever I did the chiaro scuro warm-ups with you on UA-cam I was able to successfully sing up to the high B, which was extremely exciting for me, so I do thank you for that :)
Also, just curious, did you use the chiaro scuro technique for any of your great leading roles? Or did you use a different technique to help you?
Chiaro scuro technique used in aproximatly 95% of the cases, falzetto only 5%
I am in no way trained or formally educated in music but have you tried yodelling? It helps me alot in training my "flip" into head voice or falsetto, now I can flip up anytime I want as the muscles are well trained and I practise everyday. Try it out 👍
Sir, greetings from Peru, how much do you charge for a private class through skype ? blessings
Ciao! Credo di aver capito come che il falsetto si usa cantando sul fiato eppure l'ho sentito usato da tenori per arrivare a certe note come il Fa 5. Di sicuro ho inteso male io, potresti sciogliermi questo dubbio: il falsetto nel canto lirico si usa opoure no?
Can one benefit from Appogio (One register singing) who doesn't want to sing in Opera? Who wants to sing sometimes in head voice, chest , mixed voice...
Gentilissimo Franco, mi sembra di capire che lei è italiano, fa anche lezione in italiano?
Mr. Tenelli, do you give voice lessons via skype?
Is there any way to contact you about lessons? I’d love to learn from you
Maestro,some teacher say we should inhale through mouth,some say we should inhale through nose. Does it really matter? Or is it a personal thing?
the way babies breath, deep and with the diaphragm pulling down, the rest is static(chest is always in that position)
Maestro... It's so hard learn how to sing in the right way! What can do, we, the mexicans who wants really hard learn to sing? Who could teach us with this technics?
If I’m a rock singer how should I use my support? If i do with the natural placement the sound is not good, too much chiaro-scuro and is hard for me reach high notes
David Zeta
Chest voice is disturbing for high notes.
Try head voice.
How to develop?
In a day, you will learn and
get it.
Humming is the key.
Try 6 hours or more.
Send noise ( ringing) up to your head, in other words resonate your skull.
After many hours, try to
sing high notes,
you will be surprised
for easy projection
and free gaining.
Very high, high notes
C5, D5, E5......
Impossible without
Head Voice.
Modern Bell Canto Technique.
what's the name of the song at 25:36 ?
I'm a 66 yr old basso who is losing strength in my epigastrium area and abs below. My muscles are solid as rock. Maybe I am applying too much abdominal pressure, but it's difficult to sustain a line after 2 minutes ....... I feel like I'm missing something important but I don't know what it is.... I have a healthy unconstricted sound, but it feels as if my vocal cords are TOO tight.
Thank you very much...
Hello Mr. Tenelli, are your videos valid for women also or is there a big difference?
marly loco sure, for women too, I mean opera voices like Mezzo, Dramatic soprano and full lyric one. As for colloratura and utra lyric voices, they cen get away quite well without active diaphragm(Appoggio)
trovo molte cose super interessanti che sto provando. Pero avrei bisogno di un insegnante live. Qualcuno che insegna in ITalia con questa tecnica?
It might not help, because singers aren't supposed to strain their neck while singing. The face and the neck should be relaxed. Strengthening the diaphragm, however, would help more.
@12:00 Stefan Zucker- LOL
You probably sing with just supported chest voice without chiaro-scuro.
at Bb4 your vocal chords cannot sustain the pressure so you either have to lear how to cover it or try to find your natural chairo scuro timber again..
WHAT ABOUT MUSICAL THEATRE ?
Musical theater leans more toward legit, which is a brighter belt with a controlled vibrato.
Когда вы говорите на русском языке, у вас это получается намного более выразительнее, и менее официально:)
Appoggio is not a style of music it's the way of singing without forcing(in any style) and the way placement works(one placement only).
What do you really mean is appoggio with chiaro -scuro sound, then it's not applicable to pop or rock
This guy sounds awesome and some of his advice is great. However, he says to be open minded, but he's clearly made up his mind about the "correct' way to sing. I don't want to argue with anybody here, but have any of you researched Catherine Sadolin? There are many teachers and students of hers that can produce ALL vocal styles in 1 register. They can also produce any distortion (rock & metal music) without any vocal wear whatsoever. Just a thought.
wow it's all confusing
Destroying your voice, step by step. Cool!!!! We do not breath into the diaphragm, it is a muscle, not a space. What a fuck up.
I think he knows very well that it is a muscle :) It's just a way of formulating it. For some reason everybody says it like that. What he actually means is breathing using your main muscle designed for that purpose, the diaphragm, with an open chest, and avoid using any unnecessary secondary muscles, like for example raising your shoulders.
Of course you breathe into your lungs.
I hope i could help you understand better, and that you were able to overcome your negativity a bit in the 5 months since you wrote that comment^^ he is a really good teacher.
Happy New Year :)
You are just an idiot my friend! he didn't say breath into the diaphragm.you need to control your breath with your diaphragm :-) all the voice teachers and good singers know it .
***** I've read and heard something about it , and i think the concept of Valsalva Maneuver is the same as concept of appoggio ( This is my Personal impressions ) . its all depend on what you looking for ? yeah you right when you have your diaphragm activated your vocal cords getting closed . and absolutely because you have not direct brain control on your vocal cords you need too manipulate them with other controls such as breath and Diaphragm. If you looking for the right way for singing don't doubt about appoggio . appoggio and diaphragmatic control is the mother of singing ;-)
I think people should start saying breath AGAINST the diaphragm instead of INTO the diaphragm.
Against the diaphragm sounds better as the lungs are pressing onto the diaphragm.