Caruso marked darker vowels in his scores because they were guides for mixing vowel colors. His mouth didn't change shape because vowels are formed mainly in the pharynx. He kept the shape of the main or dominant vowel and only 'thought' the darker color to create 'chiaroscuro' (a term you mention but do not clearly explain). My friend, Caruso was a God given phenomenon which will never be exactly repeated. Thank you for your interesting posting!
I learned when you 'modify/darken/brighten' the vowel for artistic purpose, you should not lose the 'core' or the focus of the vowel at the 'center' of the tone. In this way, all of my vowels sound the same from the bottom to the top of my voice. The teacher I had taught me a method using long tones to build the voice, similar to what woodwind players learn. The videos you offer seem to be the most practical that I have come across.
great explanation here. Just want to mention that it depends on the definition of "vowel". If you define a vowel as an acoustic phenomenon (what we hear) then there is vowel modification during passaggio, because it will sound more like OH and then OO. However, the "internal shape" of the vowel (what we do physically) stays constant and is just "colored" darker during passaggio. It is just an acoustic phenomenon that a darkened AH will sound more like OH, but it does not actually change the vowel shape. When I try to explain that I usually refer to "vowel shape" as the internal shape of the vowel (made by the tongue mainly), which stays AH all throughout, and refer to as "vowel color" for the position of the larynx. Vowel color gets brighter naturally as we go up in pitch. Thus we have to darken during passaggio to keep a consistent sound. This darkening is what I refer to as "covering", but the definition indeed varies. The darkening will change the acoustics of the vowel in a way that it is perceived acoustically as sounding more like OH.
absolutely - voice lends itself to the law of acoustics as well as physiology . Some singers achieve this naturally because their ear is so progressed that their body tunes into the acoustics almost in anticipation: others have to 'learn' covering/ modification - personally i believe the vowels modify quite organically if we don't fight against and dont attempt to 'force' a particular shape but focus more on tone placement appoggio and resonance
@goodboybuddy1 " vowels are formed mainly in the pharynx."- vowels are not formed mainly in the pharinx :) Pharinx forms so called neutral vowel and shape of the mouth, tongue they form all the vowels. I did not say his mouth did not change when he sang diiferent v, just when he sang the same vowel. I did explain chiaroscuro in my other programs in more detail. Nobody's voice can be exactly repeated and that is not a goal. Goal to develop beautiful intergrity in the instrument. Franco
To quote Marafioti: "The full extension of the natural range ... is produced only by using the minimum tension of the vocal chords and the minimum breath required for each tone." This means that you should never attempt to push any notes, they should come by themselves (with experience). With that said, yes. Singing high notes with complete support feels almost identical to taking a massive dump in terms of pressure and effort.
does that statement in the beginning of the video suggest that the apoggio technique diaphragm support feels somewhat the same as when you go to the bathroom?
Огромное Вам спасибо, как я уже писал Вам в личку мне многое стало более понятным в отношении того что такое прикрытие, точнее что под ним понимают разные педагоги.
Hi Franco. I've found that following your technique, once the vowel is in the correct shape and path, the support mechanism automatically adjusts the vowel sound as you go up. No manipulation is required. Conversely, I find when the initial vowel sound is incorrect, I am compelled to manipulate the vowel sound, especially approaching the passagio, otherwise, I must push to get higher. I hope this makes sense. Thanks for all the great videos.
@juankemperor Caruso didn't modify them himself but suggsted modification for younger singers before their diaphragm grows stronger. Modification is better then placement change or forsing but for appoggio singer that technique is just temporary
to a certain extent yes the sensation is like "bearing down" similar to going to the bathroom, but not as intense as that. The support comes from the same place - sides and back of the core area (wait area). It's a "down and out" sensation.
"my vocal range and my tone is pretty good for me" Good news:) "I cant sing high volume" . The question why do you like ti sing with a classical volume? You have to change the whole system of larynx and breathing if you like to achieve bigger resonance through experiments I proposed in my "Finding a natural resonance..."
Dear Mr. Tenelli, With all due respect, I am merely following a whim because I am suspicious of anyone who calls himself a'Guru'. That is a very serious description of oneself, and implies a knowledge and insight that are rare. I am a graduate of CCM in the 70's and studied with some fine teachers in NYC. People thought I would be a 'star', but no one could really teach me what I desperately wanted to know. So I have made the study of the voice, vocal technique a hobby, albeit a serious one.
@goodboybuddy1 We have something in common, I don't believe that a teacher can teach anybody, no matter how famous he or she is, he can help or make things worse, but real learning lies in mutual work, that requires a great intelligence from both sides. Besides teaching vocals is almost like teaching religion, so many contradictions, so much ignorance. I studied with famous teachers and coaches but real knowedge came to me when I started thinking independantly and scientificaly
I am absolutly agreed with you I spend such money and many teachers for no result at the end !!! Until the day that I understood to listen to my own feeling and sensation !!! Why I realized this ? Because of a book that I find in a bookstore in Los Angeles about Singer who are talking about their own technique of singing and I realized that no one are saying the same things about the technique of singing !!! Then I start to sing with my vocals cords 😂 Thank you Mr Pavarotti 😂😂👍👍 But but but what is terrible is that I find my voice again but to late to old 54 urates old 😂😂😂 What the fuck 😂😂😂😂
@@Morning404 Don't think that he have good points. There are some wonderful teachers and if he don"t think so he is lying about the fact that he studied with great teachers. And who knows if he is not intelligent enough for study singing, talented like a singer or a bad student?
Dear Mr. Tenelli, I'm curious but I've heard of another book that gives other examples of Caruso's voice method called "Caruso's Method of Voice Production" by P. Mario Marafioti and that it is really good for budding singers. Is this true?
I like your support techniques,however I viewed a master class by tenor Salvatore Fisichella and he claims the stomach never pushes down and out .The intake of air fills the lungs and the lungs are kept expanded on singing.He says you pull in and this will emit the sound.Please explain the difference.He had a very good carreer and still hit the high notes.Thanks.
I have been studying with a phenomenal teacher (probably one of three in the whole U.S. who teaches the full, healthy, and proper technique) and would be glad to answer any questions you have. When Salvatore Fisichella said that pulling in emits the sound, I believe that he was talking about the pulse of energy from the diaphragm and not the stomach. When hitting notes above the passagio, it is important that not only does your positioning stay healthy (adam's apple never moving, but you open your throat almost vertically to get your chords to transition from a close position and vibrate in a new way) but that to help make it more reflexive, you literally shift a portion of your lower body towards your belt so that there is less pressure (preferably none at all) near the voice box. It is important though, to never RELY on a pulse or a pulling in for your range, because then you are punching your chords with air instead of moving with them. What will make a good tone is not a bunch of preening and prodding, but developing your voice with healthy technique. On any given day, after a good warmup (and sometimes without) I am good to hit a solid Bb and usually a B natural too. I'm only 19 and yet because of healthy and good technique, I get fantastic projection and unbelievable tone. If anything hurts, you're doing something wrong.
On another note about 'emission' of sound, the real resonance should not come from your middle (in the high range). All of your vocal mechanism is soft flesh, except for the bones in your cheeks and your front teeth that you can use to shift and resonate your sound. That is where you should feel the vibration, your lower body is just steady pressure while your head is where you resonate. The chords are only where the note is created, not projected. And I don't know if anyone else has emphasized this with you, but a stable and steady chest voice is the foundation for going higher. If one is not engaging properly while below, they are also not engaging properly while going higher.
Frank DiPietro Fisichella focuses on the expansion of the breath as being the antagonism to the lower abs supporting. The expansion of the breath is of course still a lowering of the diaphragm, but his focus is on keeping expanded while supporting from the lower abs. There are other singers who consciously push the abs out so that it can even feel rock hard to touch. He is warning against pushing the abs as being the basis of your support. He says that the pushing school was Germanic and decreases flexibility. According to Fisichella if you push the abs out you get only one setting of support - blast or blast. Corelli distinguishes between the constant lowering of the diaphragm Del Monaco used, to his technique where he varied the level of the diaphragm depending on the desired effect. Note that Fisichella is a lyric tenor with a freakish high range.
Pushing out the abs is a huge no-no. Fisichella has his range because he's not pushing his voice with an excessively hard diaphragm. As a lyric tenor with quite a range as well, I understand completely what you mean. The breath should NEVER be a point of tension. Instead, it should be the point of relaxation where the air merely replaces itself in the outwardly relaxing diaphragm.
Your right. The ribs expand out, and the diaphragm goes down. I saw tenelli in Montreal, and he let me know I misunderstood his videos with that one. He was speaking of the diaphragm the whole time. You don't intentionally do anything to your stomach, except keep it strong and stable.
@TenelliVoiceGuru Dear Mr. Tenelli, Thanks for your reply. I'm afraid I'll have to just agree to disagree with you about just about everything. You might try exploring The Voice of the Mind by E.Herbert-Caesari. I just wonder why the Master vocalist of all time bothered to mark alternate vowels in his scores if this is so meaningless, as you seem to imply? Thanks again for bothering to reply.
@goodboybuddy1 I don't mind if you disagree but to respond I need to know who am I talking with: student, pro-opera-singer, vocal coach, just Caruso fan etc after we can talk:)
Mr. Tenelli I think your videos are amazing, I think you are doing and incredible job and I think you are a great soul because you explain and teach us for free. Im peruvian so Im not sure if you have heard from tenor Juan diego florez, It would be awesome if you make a voice analysis of him. I believe he has a great and interesting technique and It would really help us to understand different techniques. Thank You!
Please do not feel you need to reply to me. I wouldn't like to intrude as I'm sure you are sincere in your wish to help other singers. Best of luck in your endeavors. I would like to know where you received access to the Caruso scores. I'm a bit jealous of that! Yours Truly, James
Is the first excercise to be done in one breath, i find it very hard. I am a proffessional opera singer with a strong voice......but does that mean by breath control is lacking in some way thank you
Mario Lanza sang exactly the way Caruso did. He imitated him to the note. The Voice of Caruso in 1908 and the voice of 1920 were very different. Corelli used a floating larynx technique. His own technique.
Is the first excercise to be done in one breath, i find it very hard. I am a professional opera singer with a strong soprano voice......but does that mean my breath control is lacking in some way thank you
hello mr tenelli . thank you for all videos. my vocal range and my tone is pretty good for me . but my voice volume is not enough. icant sing high volume or talk high volume . whats that mean ?did i damaged them ? what can i do for it ?
Amazing lessons. I know im 9 years late but ive been looking for videos to help me develop into a tenor voice but all there is on youtube is how to sound like Justin Bieber. Thank you!
The only advice that can apply to all students of singing is self exploration with one rule: find a way to sing with the same ease and clarity as you speak.
Отвратительный голос!!! На твоём месте, я вообще бы молчал о великих певцах! У тебя нет ничего общего с их именами! Иди работать дворником,ты шарлатанан!
