Hi Rafael. As a studying LoMonaco student I thought I might give you an opinion. I agree that the LoMonoco and Melocchi methods are very similar in results. LoMonaco seeks to define concepts physically with absolutely no imagery. I think that Tom LoMonaco was also determined to reduce to a minimum one's own interpretation of sensations, understanding that this may actually cause confusion in students unnecessarily. It is apparent when a singer is not doing something correctly, as we can hear it. If the vibrato or vowels are not good, it won't help by not talking about it. Like any defect, it won't disappear by itself even if we cannot directly control it. We may have to do something indirectly. I think that there is a distinct lack of honesty in voice training and it doesn't help anything by trying to spare someone's feelings. The tongue is explicitly trained in LoMonaco. It is something that is easy to understand once we consider how a vowel is formed. Once we begin to open the jaw to provide various benefits, we will need to maintain the tongues shape and proximity to the palette to produce the various vowels accurately. LoMonaco simply tells the student where to put the tongue not leaving it up to chance. Of course, an excellent teacher in any case would do the same. The same with the 'low larynx'. I have never been instructed to pull my larynx down. I have been told to stop pulling it down! But it does not mean I sing with a high larynx either. Tom LoMonaco himself can be heard on RU-vid instructing a student not to depress the larynx. His whole mantra was about freeing the voice, just as Melocchi. Just as any good teacher tries for really. Finally, I think that Tom LoMonaco was a clever man and not only created a clear path for the learner, also created a clear path for the teacher that didn't include their personal sensations. This removes the chances of third-party manipulation and mis-interpretation of the method. The only remaining question is...where are all the big beautiful voices today?
Thank you ever so much for such a wonderful and explanatory comment. I really appreciate it! As for ¿Where are all the beautiful voices now? I suggest you watched a video in which the late Jerry Hadley ( Amazing tenor and artist) explained a bit of what “has happened” regarding vocal tuition and singing in general. Thank you again for contributing to clarify the controversy between Melocchi and Stanley! Much appreciated. Best regards.
That's very correct, what you wrote. I study also the LoMonaco method and I can say it's very stable technique, for the tone, the breath. I study with Craig Sirianni, a student of Lo Monaco himself
I've been studying with a student and disciple of Thomas LoMonico named Craig Sirianni and the improvement in my voice has been remarkable - my range has increased and is much more reliable at the top, and for the first time in my life I have an even, attractive vibrato. We also do Melocchi exercises, by the way!
Thanks a lot, Rafael! You don't have an idea how I am grateful that you share your knowledge and for what you have revealed about Maestro Melocchi. His lessons work wonders!
I haue been reading Stanleys booke: Your Voce. I was ſhocked that deſpite what euery one ſaith, he was quite adamant that one ſhould ſing with a neutral larynx only, and neuer with a lowered larynx as LoMonaco taught. Stanley did not know that one could open the thꝛoat AND haue the vocal tract elongated by lowering the larynx. Stanley thought that if the larynx and hyoid bone deſcended then it would alwaies cloſe off the thꝛoat and giue a thꝛoaty ſound.
hi rafael, i always wondering how much breath should we take when we inhale? i just figured out when i inhale fully until i can't inhale anymore, and then hold my breath while singing. my sound really big and i can easily hit the high notes without feeling anything on my throat. its really confusing because what i've been told is never take a big breath
Hello. “Inhaling until you can’t inhale anymore “ will certainly lead to unnecessary tension. I believe what you have found is your optimal subglottal compression whilst emoting certain sounds. However, one must not confuse one concept with the other, since as I stated before, “over breathing” will possibly hinder your vocal production. Greetings.
@@tecnicaantica Hi thank for your respond Mr Rafael, i just done watching of some your videos, it really open my mind of the new idea even more. because i'm actually kind of sceptical about paying attention to breathing patern while singing. i've been watch michael trimble channel that also said del monaco hold their breath in the throat. now i overwhelmed ended up into many of different ideas, while what i only actually looking for is to increase endurance/vocal stamina 🥲 i've also studying about glottal compression/breath stop/valsalva meunaver i think they all the same is to stop the breath against the cord closure, not to leak air. thats true i can easily do glottal compression when my breath is fuller, but it strain my chest 😅
