Think is not very nice from you tell the teacher he talks a lot. I found his words very helpfull and he explains with all details. Over all, he is teaching without win a penny for this, so, we should be glad to have him here!
I watched this last year. However, I was looking for a quick fix and had no patience to take in every word of the video. Last night, I watched Tenelli's videos again and listened to all his explanations. I couldn't believe how useful it could be, particularly this one about support, I finally understood what it means by support! I really regret that I didn't listen to the video fully. I have missed one year's time.
Appoggio support is so important and it is surprising how little focus is placed on this even by notable voice teachers. I am blessed to have a teacher who started from the breath and builds on that. It has made my journey infinitely more constructive. Thanks for sharing this! Mendel
I have been rebuilding my voice after years of sickness and you have been immensely helpful! You remind me quite a bit of my former late teacher Margaret Harshaw.
Omg thank you so much! I now FINALLY understand how to FEEL instead of just understanding theoretically. Its been one year and this cleared up everythingggg!!!! Thank you so so so muchhhhhhhhhhhhh!
Can’t thank you enough. You solved my biggest problem. Was wondering why I felt choked and had to exhale after singing a line. Now the whole apparatus feels relaxed. God bless you!
Thank you Mr. Tenelli! I have watched all 6 of your videos. This one is very helpful. I have finally understand what you've been teaching through watching this video. Thank you for your time and effort. I am sure many people will sing better after watching your teaching. You are a very given person.
So few teachers know this technique and even fewer teach it properly. I have had great success in introducing this kind of compression to my students. To a lot of people the sensation in the body can feel very strange but once you get used to it, the sensation fades into the background.
This is great info Maestro and very kind of you to give your time and expertise so generously. A word to "Stuart darling". Why are you so negative and whining all the time,
Maestro, I so appreciate your lesson: natural placement and dynamic opposition of the diaphragm. It appears to be a greater conservation and use of energy with a much purer vocal result.
Absolutely thrilling !!! I always wanted to be an opera singer . My father afforded for me to go to drama school and have some singing lessons , but not to the level that I would have liked . Maestro Tenelli I understand completely what you are saying . I am now 75 and still have a voice , though little used . I think maybe I can follow your lessons and teach myself to sing . I follow with enthusiasm young singers ; many are told they must sing big for Verdi , this upsets me so much .
@TenelliVoiceGuru I am 15 years old and I'm a high baritone/low tenor. I've been singing "seriously" for about 7 months without any operatic training whatsoever. I was singing along with you, and at first I was really annoyed by how I couldn't keep my larynx down. When you sang the C, I sang along and hit a perfect C5. I felt no strain and the tone was good (I recorded it to make sure). THANK YOU! I think I'll subscribe and watch your other videos. I'm really excited. Keep up the good work :).
what you talk about here, pushing down is 100% correct and it does take energy but you develop endurance over time. I use that technique and i didnt even know it. but yes it is so useful and incredibly important to learn.
the higher you sing the more pressure you apply if you're using the same voice through. If you sing higher with lighter support then register change is inevitable. Soft palate is in a raised & round position like a dome in a church. If your soft palate in a low position your voice most probably sound quite nasal.
Awesome- if you really listen to the difference in his voice with and without proper appogio support you'll hear how much more resonance he attains when singing with proper support. Quality resonance is the only thing that seems to separate good singers from great singers.
As always Mr. Tenelli - you're instruction, techniques and easy-to-understand and grasp ideas and demonstrations are yet my favorite tools and I watch your videos incessantly. Having had a few vocal problems and as I age, losing a lot of the upper register notes, I am having to be much more cautious about how I use the voice and your lessons and techniques help and have helped tremendously. I'll keep watching and appreciating. Thank you again for your expertise.
you are a very good teacher, I really appreciate you trying to get the message across us, the average singer with average understanding of singing. I totally enjoy it. Thanks.
In many of my videos I speak and show how to discover a natural placement. Mouth position should be relaxed and open like on the word Father. Tongue position is individual but the best one when it's flat, larynx like in a yawn position.
I said many times in my videos that all the sensations are personal and your friend has the right to feel her his own way. Imposing your own sensations on other singers is a mistake that lasted for too many senturies. One cannot expect new technique just to be established through understanding only, because it's incomplete. Complete understanding comes only with experience. Develope strong muscules: only then you can rely on appoggio. Just pushing down will not be complete, you need a natural p
@infernalphast9 Thank you:) appoggio is not meant just for Opera. It's a perfect, most balaced support for any voice production. as for your feelings(sensations): Do u meant easy like falsetto? or breathy like falsetto?
Dear Maestro, Thanks for your fabulous videos. I have a question and please if you answer to me it would be so helpful because im doing a research about the way of breathing. I want to ask you if you know what breathing technique Placido Domingo used. With the belly out or in? Thank you very much for your time. It's a great honor for me to contact with you. Ioannis Alexopoulos-Greece
Franco, I have a big question that I can’t understand. What happens in terms of physiology when you talk about this diaphragm opposition? What happens to the lower abdominal muscles and what happens to the lower ribs? What are the movements during this opposition? Please help!
+Oleg Tkachev When you resist the diafragm, you have to use your abdominal muscles to create a little bit of opposite pressure. That's why it feels like you're pushing down: you are, even though the diafragm doesn't move down. You're just controlling the air flow.
My goodness you have no Idea how wrong I was....you opened my eyes, my teacher she is really good, but your explanation it is so assertive, now I understood what she meant!..
I am a fan and aquaintance of Salvatore Fisichella . He was taught by Maria Gentile and his breathing technique is that for a woman . One time I met him after a performance , when he had a group of his singing students accompanying him . I stressed to the youngsters not to push their voices , that we prefer to hear beautiful voices , not big ones , just place your voice and let the sound come out . Maestro Fisichella said , " Si , devi Appoggiare ". Rosa Ponselle is a great example .
@aryankhah For those who don't have acual teachers, they need to record themselves constantly and listen to recordings as aften as possible. Ideas don't make great singers:experience does. Teacher is there to point out on fine things that actual singer never feels or hears himself. When one follows just ideas, without understanding the proccess as a whole, might be in danger. In your case find good natural chiaro scuro timber and develope it without a compromise, but you need someone to tell
Thanx, Not typically, Lower abdomenals are real supportive muscles and by the time we arrive at appoggio 3rd type(Active diaphragm balance) they should be working automatically or almost automatically. Majority of real appoggio singers don't feel low abdomenals for that reason.
@TenelliVoiceGuru If i may interject i believe the sideways inhalation is similar to the 'sandwich' feeling you describe, preventig the belly from going out but still breathing low(strenum raised) you can feel the stretch in the lower ribs. I'm finding your posts very helpful Mr Tenelli!
Hello Mr Franco Tenneli . Thank you so much for your free precious ,countless and helpful knowledge about voice production . One of the many questions that I have is ;The bigger is the voice , the harder to control it ? Thank you .
In yoga breathing, the belly expands with the entry of breath. I believe that correct singing is based on the diaphragmatic breathing which occurs , as you know, above the abdominal muscles, which are distended in yogi breathing. I keep my abdominals toned but not tight. You speak a lot about yogi breathing in your video. Can you clarify? Many thanks.
Caro maestro sono impressionata dalla tua magnifica voce e soprattutto dalla perfetta tecnica, ma basta con questi video in inglese pensa a noi italiani, abbiamo estremo bisogno di maestri come te fai video in italiano, che facciano uno sforzino gli angli, di traduzione. 😆😆😆
@tenelli I want to learn how to sing but I don’t know exactly what to do I’m struggling to develop my pitch and also developing my ear do you have any advice on how to use my instrument?
here is a often question should i breath in with my nose or my mouse ,my personal experience i get more air with my mouse I'm right ?(for opera, pop ) style
I think for me, it is better to breath in through both nose and mouth, as breath in only through mouth have the danger of having lower starting point of breath (through jaw and lower lip), which collapses your vocal track (shallow breath and you feel a lot of air going through and irritating your voice), which when you sing (of course at the same time breath out), your throat is likely to remain in that same position and you end up forcing a lot of air through your vocal folds. In my opinion, it is better to feel like your breath in through the upper lip and nose, which keeps the vocal track lifted and longer, and you will feel the breath traveling longer distance in your body, and ends up in a deeper position, and you should feel a smoother release of air when you sing out as long as you keep the same breath in position.
in through nose. Mouth can not be changing shape to accommodate air. Try it. mouth before phonation fills part of the lung as the chest comes out. Nose fills lower down and does not alter the oral cavity to determent but does open the resonators and help elevate the soft palette so nothing collapses.
Really enjoyed this video, Thank You! My interest comes from a meditation tradition and the use of the diaphragm in working with breathing. We can experience exhales that last about a minute, and maintain attention on this long exhale to aid with concentration and awareness. But it is always great to learn more about this matter. Certainly would love to see a video done by you on your approach to breathing in meditation, but respect if that is not in your interest. Best!
@TenelliVoiceGuru Thank you!! Kick with the diaghrahm i understand and ALSO does the lower abs actively or conciously contract...I mean do you just focus on the diaphragm when you, yourself sing or do you also actively engage or use the lower abs/abs....and abs up or down? Thank you
Do you have some breathing exercises that one can do without singing, lying down or standing! Thank you for this free knowledge. May you be blessed in many ways!!!
@TenelliVoiceGuru Hi,I saw your appggio technique is quite simple.What is the difference between your appggio with another appggio that needs high strenum,sideway inhalation....etc?
in appoggio styles of singing(one timbral) larinx should be stable. It' s not me who is saying that, it's a nature of a chiaro scuro resonance. With falsetto type of a voice larinx can move more freely
@TenelliVoiceGuru i mean, do you make a force similar to the one for evacuating your bowels? Or do you tuck your abominal muscles in? also, do you think ill pass through my bridge just by getting a good appoggio? but how is that? you mean that u get so relaxed that you dont push at all and just pass through your bridge freely?
Dear Maestro, i really find your coaching extremely helpful. I am still learning and love to sing operas. Can Maestro share with us how to sing soto voce because in some passages of the aria we need to sing soto voce and sweet eg. in those passages on love expression. Thank you in advance. Gracie.
@KarineRibbens Appoggio is not just a diapgragmical support. Appoggio is 100% support with one register throughout. Maria went againts all the natural laws of singing taking versatile roles that one soprano couldn't sing possibly. Maria had registral division in her voice, therefore she was not an appoggio singer, but she was a true genious nevertheless...
Maestro, I most likely don't live near you.. But do you mind sharing in the case you teach in person.. In what country would that be? I have couple of videos on my Channel where I sing GRANADA with a band. Perhaps you can take a listen although it starts slowly meaning I don't start singing until a minute or so.. Then tell me what you think.. Thank you very much, I listen to your lessons and enjoy and practice what you teach. Thank you.. But the Granada song I recorded it "Before" I started following you.. jajajaja..
Maestro, quando lei fa gli esempi allarga la sua gola....come fa? A me si chiude in alcune note di passaggio specialmente quando ci sono le parole...può spiegare con un video come tenere la gola aperta?
@infernalphast9 Riggs studied, as he claims, with one of the best liric tenors of his time, Tito Schipa:) Vowel "U" or "OO" is very good to open the throat and develope better resonance. I personaly don't do lip roll, but I'm not against it:) I have my own ways of warm ups(I call them pre-warm ups). What bothers me about Riggs is that he created so called "Method" and certified teachers along. Methods in it's tight stuctures don't work in voice. Voice teacher needs a great vocal ear
You see I sing the Queen of the night Arias/role...What about those stacatti Fs etc push down or kick with diaphragm lower abs? What is your opinion Maestro? Tx
What about the lower abs and pelvis do you breathe that low and into the pelvis relaxed or do you contract and actively use the pelvis muscles and lower abs to actively oppose the diaphragm when singing as teached by for instance Caballe??
@TenelliVoiceGuru (continued) It seems that you rightly emphasize the 1 and 2 but pretty overlook the 3 that is seen in your own voice and IMHO if you make some cord adjustment your vibrato becomes a little faster and voice gets more pleasant quality because your natural voice is immense.
@opera1232010 Im glad to share my knowledge and experience. You are the great voice and singer no doubt about it, and you understand all the challenges pro singer faces. Some young singers still have to go through challenges becoming young opera or concert performers never realizing that schools, no matter how good they are never give even 40% necessary apts. I've been addressed here on youtube by pro singers who support the fact(and not idea) of advantagious appoggio way of support.
@aryankhah If i may suggest that you add more expression while singing. WAY more if you have too like smiling should brighten the voice. And perhaps you could go back to mask placement a little like 5 minutes a day and try to remember what it feels like and sounds like and do it with support. What ever works...
Thank you sir for the reply, what if for example I mimicked a voice that is said to be appogio style and I was able to produce the sound exactly the same as it is will mean that I also sung with the same technique with the one who's singing. And lastly, after singing, My voice doesn't sound any husky. Is that a good assurance that I am singing in the correct way? thanks a lot maestro :)
@KarineRibbens Sorry to keep on Nagging and asking But what I mean is do the abs' upward push happen by itself or do you also contract the lower abs against the diaghragm....To me it feels as if you lean ito the whole body downward, even down into the pelvis (that is for legato.. :)
Mr. Tenelli, when trying to find a voice teacher that teaches a healthy, natural or appoggio techinque - what should a student look for? Because many teachers will say they might say that they teach either one, but they might end up teaching the opposite of what they claim.
What about coloratura technique? Do you do anything different with the support to cleanly sing many notes in rapid succession? I have been told to "pulse" the diaphragm on every note, or every second note, etc. but this is quite a challenge with long runs...
99% of singing teachers are not good for any voice. You are one of the 1%, who know what you ar talking about. 5 Stars from Germany!!!!! What do you think about the technique of Jonas Kaufmann? Healthy or unhealthy?
@TenelliVoiceGuru My apologies if what I said was in any way hurtful or insulting. I have listened to your concerts and actually appreciated your voice. I find the use of portamenti or scooping annoying and unnecessary, but my previous description was not apt and my apologies. God bless you and take care.
Sir you have mentioned that a stable larynx would cause the voice to be forced does that mean that it is necessary or normal for the larynx to move up or down depending on the pitch? Because I remember that in one of your previous video that in singing any pitch larynx must stay in its position correct me if I am wrong thank you.
@TenelliVoiceGuru dear franco please don't consider insulting what I am saying here because I just talk about your voice and not you as a human. classical singing as far as I understand is comprised of three essential parts: 1)Appoggio or dynamic support 2)proper adjustment of vocal tract( lowering the larynx,rising palat, elongating pharynx ,..) 3)Vocal fold adduction that causes a briliant voice, pretty fast vibrato and penetrating quality
@infernalphast9 I have sung almost any style except Hard Metal one(Blues, Jazz, Crooning, Broadway, Opera, Art songs, Folk). I'm also a fusion guitarist:) so I know that u use distorted sounds as an effect(screem). Opera singers also scream but we have less distortion in our voices(though crooneres call that opera production as unnatural distortion of the voice) Support is essensial in any voice producion
Dear Maestro, my friend is very sure that the "down" sensation of the appoggio can physically felt on the solar plexus as a pushing out. While he was saying "down" he put my arm on his solar plexus and I can feel it pushing out, almost punching out as he made hushing sound. I tried it and I felt very uncomfortable and tense, while my breathing seems to become shorter. What do you think? Thank you.
