5 am in LA, and I can’t stop watching to your lessons, Mr. Trimble! This is exactly what I needed, I am struggling with breathing techniques. Purchased your book too. Thank you so much ❤️
Very precious, I will send to my students. Thank you and yes when we are singers we want to sing; I had to stop for the consequences of a malpractice during an abdominal surgery and discovered that teaching and finding paths for my students to sing freely and effectively is a way of singing still and dream of singing again something no matter anymore the career of before but just to give some singing and enjoy this (and of course I enjoy making the examples for the students). Great great videos, and great joy and so important this craft to be transmitted. And the wonderful emission you have!
I am very thankful for all of your advice. They have really improved my singing and my view on healthy technique! You're small tricks have helped me reach my higher and lower notes with absolutely no strain. You are a miracle worker! Now I just wonder: what 'red flags' should I look out for when singing with a new teacher? God bless!
@@Tenoretrimble Thank you Mr Trimble! This was similar to what I expected - the correct basics of beathing and singing - and I will most definitely take your words to heart. In this day and age it is unfortunately hard to find people who teach true Bel Canto singing, especially here in Sweden. I have watched your videos for a couple of months and it has been a blessing to me - although my current teacher seems to disagree on a few points. I did put your book on my wishlist for this Christmas and I will continue to follow your advice! Yoga is wonderful but I have limited time, though, I have started doing the 4-step walk. Currently I can only do 4 steps for maximum an hour. Unfortunately, I have a complicated home situation which in turn creates tension in my body - so currently most of my practice consists of relieving tension - and that is a work in progress. But I CANNOT THANK YOU ENOUGH for the content you put out here on the internet! Best of wishes, Paula
@@Tenoretrimble Maestro what are your views on dimash he's a kazakh singer he sing popera and he can hit a a1 and as high as d8 easily wider range i guess 6 octaves please give your views Maestro
Hello Sir! HOW ARE YOUU TODAAY ? :) You are a great teacher! I Just wanted to say that you are a gift from god. Thank you for sharing your experience. It would be interesting to see a video of you Sir, where you can describe the difference between singing opera and pop. It is the same technique, right ? Just different styles of singing ? And why a lot of opera singers are not able to sing pop ? Pop singers "tweng", opera singers sing more deeper ? Its a very interesting topic. I wish you all the best and greetings from Vienna, Austria!
Mr. Trimble, please forgive me for not speaking English, and use translation software to communicate with you. First of all, thank you for your instructional video for inspiring me, like a guiding light on my vocal learning path. I come from China and I often watch your videos on Bilibili. Thank you again for your videos and translators. I wish you good health and happiness.
Thank you so much maestro for this. I’m struggling with a lot of coming air through my notes taking all the resonance of the sound, and your video helped so much!! I really appreciate it! 🙌🏼definitely I’m gonna practice what you said!!
This further proves that we can control vowel pitch and intensity only and by using those three functional aspects of singing can the voice be trained to accommodate the demand of singing naturally and efficiently.
Dear Maestro. So the key when going to Passaggio or Highnote are maintaining the lean, maintaining shape of mouth/throat, maintaining Downbow and just let the voice find its place to resonate ?
Hi sir, do these concepts apply only to opera or rock and other genre too? Some singers sing with rasp also some singers like Bryan Adams have some breathy voice that I really like, can you please explain what are they doing and how that could be achieved, do they do nothing on their throat?
Hi Mr.Trimble! Sorry to bug you again, but I would like to ask where is the phonation location. You have already informed that the phonation location should be low in the throat, however should it be at the top of the throat? In the middle? Both? Or bottom? Thank you so much, wish you the best life! 🙏. Also sorry if I’m being annoying, I try to not ask that many questions, but I’m always overthinking everything and so I have so many questions. Anyways, thank you for being such a wonderful teacher!
Something happened since I started following your videos and technique, when I try to "stop" the breathing, as in after breathing into my back I try to put the breath against my diaphragm, when I do that, I almost feel like I'm gonna throw up, what's in my stomach comes up my throat. I usually sing at least 4 hours after eating, I try to hydrate a lot, so it's mostly water that fills my stomach, I'm puzzled because I feel like not drinking water will hurt me. Sometimes I just end up burping almost like I have a hiccup, which is still uncomfortable, I'm very new to locating the diaphragm, do you think I have it all wrong? This got me wondering what you think is the best regimen for a singer, is there any food you avoid, how much water do you drink? You've had such an amazing career, I'm sure you had amazing habits that would benefit some of us. Thank you again Michael
Fantastic! Always wonder why Corelli opened her jaw a lot for high C while Pavarotti not so much, guess it depends on each fisonomy. the idea is no jaw action got it! I will buy the book thank you so much!
i am a lighter tenor and way more agile but my mouth cant open much in the most relax free hanging position! dramatic voice have much bigger opening naturally! basically i thought my jaw should be like i am at dentist stretched open but when i tried to not focus on opening it the natural mechanism kicked and my registration problems started diminishing and my tone changed too became more brighter and comfortable
Greetings from Florida Mr Trimble! My name is koby I’m 21 years old and I love to sing! I’ve watch virtually every video on your page, but I still have some questions. How do I know, if I’m doing these methods correctly? I can sing falsetto but it’s kind of a reinforced falsetto, like when people try to break wine glasses with their voices. It’s an ooooh sound that resonates, but it doesn’t sound like a full voice high note. Tenors like yourself and others, when signing high notes, it seems to have the same intensity as the chest voice. I breathe into my back, I keep my abdominal muscles tightened, I do my best to keep my emission steady, and I can get some good power in my chest and middle voice, no strain, no fatigue after, but I can’t seem to get that power into my high notes, I don’t strain or push, but it shifts into falsetto! How do I sing high with that metallic quality and maintain the power and intensity of my chest voice?
Dear Mr. Trimble, could you elaborate a bit on the vocal technique of Dietrich Fischer-Dieskau and the (in my opinion) strongly notable changes in his singing over time? I am in love with Liedgesang and DFD's interpretations of "Die schöne Müllerin" and "Winterreise" are the main reason I started to take vocal lessons. Although I have no ambitions in doing it professionally, I just could not bear the thought of not at least trying to learn how to convey this beautiful music with my own voice. I am very much at the beginning of my journey (right now, struggling in finding "my way" of appogio"). Is it possible to learn how to make the voice as light and vibrating as DFD's - especially in the high register - or do you have to be born with this kind of instrument? I admire your willingness to share so much of your precious knowledge for free.. With the best wishes from germany..!
Hi Mr. Trimble, Thank you so much for your videos! I am currently reading your book as well! Both your book and videos have been incredibly helpful and I am so thankful for them. I was wondering, would it be possible to get your advice on if I am singing correctly, especially around the passaggio? I have been trying to figure out my voice for a while now. I have been attempting to sing into the mask (bub), by breathing into the lower back through the nose and leaning the breath on the chest but am not sure if I am doing it correctly. While higher notes definitely feel easier ( hopefully I'm doing it correctly), I feel as if my voice is more nasally and not as weighty when compared to singing with myself purposely lowering the larynx. Thank you again!
@@Tenoretrimble Hi Mr. Trimble, Thank you very much for your reply, I sent all the information to your email found from your website trimblevocalinstitute. Thank you!
This method works on very high volumes. But when i try to sing in speech level with releasing everything and only doing it with breath, i break. Why it doesn't work on lower volumes and what should we do on lower volumes to get rid of that break?
Hello maestro Trimble. Do you aware of Richard Miller books on singing technique? That maintenance contraction of inhalation muscles while singing phrase which in Appoggio describing part of the book is the same leaning the breath?
Put aside Miller's book and read Caruso's book. In my book, i quote many great singers as to how they breathed and supported the voice. They all described the squeezing of the lowest ribs in the lower back while singing. Check it out and give it a try. mt
Greetings from Finland mr Trimble! Thank you for the great videos and for sharing your knowledge with us! I am currently reading your book and hope you can answer my question about breathing. What is the action in lower back in that moment when the breath is leaned against the sternum? You mention it in this video about 21:40. Do I have to lean the lower end of the ladder against the lower back? Or push lower back outwards or try to hold the rest of the air there or something? Your videos and book help me a lot but still I have a lot of work to do with my breath. Stay safe and healthy!
As Caruso said, "The lower ribs in the lower back squeeze together while singing, and open downward and outward when inhaling. Let the ribs close while singing and let them open down low in the back while inhaling. Pretty clearly described by the greatest singer in history!! Try it, and good luck! Michael t
I found that using 'BOB' or 'BAHB' helped me to safely cover my high notes BUT the condition is to, not just breath well, also to have the cords closed (for example, the cord closure that happens on a laugh 'HAHAH') What I discovered is that I have no problem covering E4, D#4. At the same time, I'm not a baritone ... I'm that kind of tenor that needs to cover E4 on most vowels So my recipe is: - Breath in (belly goes in) - Close cords (I sometimes I say a loud and clear set of 'AH', 'EH', 'EEH', 'OH', 'OOH' to make my abdominals pop and then send out the clear vowels) Don'ts: - sing lyric pieces or imitate lyric singers - sing E4, F4 without covering
@@mizabmalikrobertwilliam8162 Sorry, since I posted that comment I changed my opinion and I think that yes, you need to know how to close the cords, but also you definitely need inhale deeply before long phrases. And that's about it. Covering? Nevermind this word, just don't open the mouth way too much for the high notes
@@mizabmalikrobertwilliam8162 not sure if you’re sarcastic or you really struggle finding the closure. But to work on the cord closure you simply need to clear ‘AH’, ‘EH’, ‘OH’ etc when you practice your scales. Just like Maestro says, don’t sing breathy. That’s about it
Maestro, thank you so much for sharing your priceless knowledge! I have one question: can doing abs and back muscle workout have a negative effect on my singing?
Thank you for your answer, Sir! I live in Georgia and I have a safe place to walk, so I'll do "Caruso walk" exercises. Wish you all the best! Sincerely, Ketia.
Hi Maestro Trimble! My admiration for you!!! Q: breath from your lower back, pull the stomach in and ...where do I lean the ladder? Where's your point of leaning before the emission? The stomach during the emission keeps inward or forward? Relax or tense? Thanks in advance Maestro!!!
Mr Trimble, thank you very much for sharing such useful information! Your videos helped me a lot. I have one question: I’m going to get nasal septum surgery because it’s deviated and causes excess mucus in the nasal cavity. Can this surgery be harmful to my singing? Thank you in advance. Wish you all the best!
It should have no effect on your singing unless you have to deal with discomfort to the point that you cannot avoid singing in the nasal cavity. Caruso said to "never sing into the nasal cavity". Joan Sutherland had a complete surgery on her sinus cavities and it had no effect on her singing because she sang with her resonance above the eyebrows and not in the nose. Lilli Lehmann said the "true mask" included an area from the eyebrows all the way up to the center of the top of the head. So, ideally, nasal resonance or nasal placement was an absolute No-No during the great BEL CANTO era. It does not project well over big orchestras in big theaters, but the resonance above the nasal cavity carries (projects) like a rocket. Use the consonant "B" to close the nose and allow the resonance move above the closed nose. "M" opens the nose and "B" closes it. "N" opens the nose and "D" closes it. I hope this helps you to sing better after the surgery! Good Luck! Michael t
Yes, George. Read my book, available at Amazon in several versions, called FUNDAMENTALS OF GREAT VOCAL TECHNIQUE. Or read Caruso's book, or Lilli Lehmann's book, and learn about the breathing method that was taught back in the Golden Age of Singing. My book covers this subject very thoroughly, with live interviews with the greatest singers of the modern era. I also used a lot of quotes and personal descriptions of how the greatest singers of the past breathed and supported their voices. I think that a curious singer like you will really enjoy reading any and all of these books. i hope they clarify things for you. Michael t
So I have one question Maestro: I breath behind me, letting the stomach come in, and I gently let it out due to Caruso's method. I feel my lean against my upper belly so my breath must not be entirely low. However when going for a high note (Bb4 or higher) I feel a tremendous squeeze in my lower back muscles and rear ribs. Is that supposed to happen? How much of a squeeze should the lower back do on high notes to maintain even emission?
@@Tenoretrimble thank you for getting back to me! 3 months later and my voice has improved tremendously. I have a lot more "drum" in my sound and I can maintain legato much more than before. Trying to save up some money to finally schedule a voice lesson with you!
The modern problem with passagio it’s a tuning or intonation issue.. the voice it isn’t a tempered instrument and doesn’t have a natural mechanism to interpreted the frequencies used in modern tuning or frequencies! And it doesn’t has anything to do with pitch or high and low notes although with the fact that to achieve a better resonance the frequencies has to be tempered in relative round numbers or frequencies to fulfilled a mechanical or physical phenomena called it frequency empairment that dictate that any sound.. note.. tone or frequency will have a better integration of different or multiple harmonics of the fundamental or original frequency or periodic signal in order that every frequency or fundamental frequency has a round or whole number or periodicity! In the musical classical system any given frequency of the 12 tone equal temperament scale it’s based on a round or whole number fundamental except by the specific A4 440 hz tone or the adjacent octaves in A3 and A2 or the second harmonic but with a very bad response from the 3th harmonic or any other harmonic generated but that tone or any given tone scale.. And it’s more obvious in any other of those tones of the scale.. specially in the passaggio where the frequencies are irrational numbers or periods! Because even the numbers of the scale of magnitudes used to calculated or measure any frequency are relative our voice and phonation system will reproduce better certain amount or kind of vibrations or sounds and tones than others! That’s why the passaggio it’s placed in different position of the scale throughout the history of belcanto indifferently of the tuning reference or system or the pitch!
