La mezza voce,qui n'en est d'ailleurs pas une,est,par conséquence, bouchée,poussive,grince déjà sur le sol,n'est pas liée avec le falseto et fait l'impasse bien évidemment sur le si et l'ut!Du footage de gueule dans les grandes largeurs et les deux sens!J'appelle cela envoyer les gens dans le mur(du son)!
if you read cornelius reids book on bel canto principles and precepts.1974. he looks at the writings of great teachers from the earliest times of tosi and mancini up to the 20th century, and he tables each of the 3 centuries and what were the practices of each period,breathing wasnt even mentioned in the 17th/18th century.
how about just say what Lamperti said,singing forte is releasing and singing piano is holding back.
you talk about science alot,can u prove scientifically that the diaphragm is key to singing?I know alot of people who can breathe quite well according to those that perpetuate the belief that it is all got to do with the appogio but they dont necessarily sing well. wouldn't it make "scientific"sense that the vocal mechanisms freedom/function has the control over the breath/not the otherway?
@hobo1975 D. is the key to a classical approach, it's proven longt time before me:) Vocal success will depend not only on the method singers uses but his ear both vocal and musical.
There are 4 type of appoggio vocal breathing(check out Gerome Hines' "Four voices of man"
@TenelliVoiceGuru thanx for the reply maestro.i will try to read Hines book.still, i would still like to see your proof,i know alot of singers attribute their singing success to their breathing control,however from life experience i know that what people say and what is actually happens can be different.just saying it is proven a long time before you isnt proof!
@hobo1975 17th/18th century. 1.sight singing 2.vowel formation 3.establish chest and falsetto registers in all voice types. 4develop each register separate entity. 5.blend each register by perfect mutation. 6.simultaneous development,in order of difficulty; (a)solfeggi (b)legato (c)portamento (d) easy embellishment (e)difficult embellishment (f)messa di voce (g)agility 7. emphasis on pure vowel quality throughout. all exercises were done a capella.
@hobo1975 19th century procedures of lamperti and garcia. 1.Breathing 2.resonance. 3.vowel formation. 4.sostenuto. 5.legato. 6.portamento. 7.messa di voce. 8.agility 9.subject of registers touched upon lightly and essentially in agreement with earlier procedures. gradual transition to accompanied exercises.
Mr. Tenelli needs to learn lighting. He speaks head on to the camera with his face in darkness and in front of shift bright lights. This is like a demo of how NOT to make a video.
yeah its reaaally hard to sing mezza di voce, well since i'm a bass, or thats what they always tell me i would try fourths a little bit lower, I can' reach that higher notes.
This exercise helped me strengthened my high register or it may not to you. Learning how to sing is science as Tenelli describes. Do not under estimate your ability hidden within yourself. Thank you. Tenelli.
Hier wird gezeigt wie es richtig geht. Der Sänger führt zwei periodische Massenschwingungen der Randstimmfunktion der Stimmlippen vor und die Pfeiffunktion. Der Vokal U begünstigt die Randstimmfunktion sehr. Idealerweise sollten die ganze Tonskala mit allen Vokalen gleiche mehrmassige Randstimmfunktionsmöglichkeit haben. In Vollstimmfunktion sollte ein Sänger auch nicht in der Tiefe singen. Leider singen viele Sänger zu vollstimmig und erreichen deshalb die Höhe nicht.
La mezza voce,qui n'en est d'ailleurs pas une,est,par conséquence, bouchée,poussive,grince déjà sur le sol,n'est pas liée avec le falseto et fait l'impasse bien évidemment sur le si et l'ut!Du footage de gueule dans les grandes largeurs et les deux sens!J'appelle cela envoyer les gens dans le mur(du son)!
abracadabranque 2 weeks ago
if you read cornelius reids book on bel canto principles and precepts.1974. he looks at the writings of great teachers from the earliest times of tosi and mancini up to the 20th century, and he tables each of the 3 centuries and what were the practices of each period,breathing wasnt even mentioned in the 17th/18th century.
hobo1975 3 months ago
how about just say what Lamperti said,singing forte is releasing and singing piano is holding back.
you talk about science alot,can u prove scientifically that the diaphragm is key to singing?I know alot of people who can breathe quite well according to those that perpetuate the belief that it is all got to do with the appogio but they dont necessarily sing well. wouldn't it make "scientific"sense that the vocal mechanisms freedom/function has the control over the breath/not the otherway?
hobo1975 3 months ago
@hobo1975 D. is the key to a classical approach, it's proven longt time before me:) Vocal success will depend not only on the method singers uses but his ear both vocal and musical.
There are 4 type of appoggio vocal breathing(check out Gerome Hines' "Four voices of man"
chapter 3=appoggio
TenelliVoiceGuru 3 months ago
@TenelliVoiceGuru thanx for the reply maestro.i will try to read Hines book.still, i would still like to see your proof,i know alot of singers attribute their singing success to their breathing control,however from life experience i know that what people say and what is actually happens can be different.just saying it is proven a long time before you isnt proof!
hobo1975 3 months ago
hobo1975 3 months ago
hobo1975 3 months ago
@hobo1975 lastly 19th and 20th century procedures of shakespeare,schoen-rene and other moderns.
1.breathing
2.relaxation
3.agility.
4.voice placing.
5.support of tone.
6.singing on the breath
7. open throat.
hobo1975 3 months ago
great clip .. keep it up thanks
kevinryan4457 4 months ago
This has been flagged as spam show
Great help, thank you maestro.
Tennorio5 8 months ago
Excelente!! thank you maestro.
Tennorio5 8 months ago
Mr. Tenelli needs to learn lighting. He speaks head on to the camera with his face in darkness and in front of shift bright lights. This is like a demo of how NOT to make a video.
Agorante 1 year ago
yeah its reaaally hard to sing mezza di voce, well since i'm a bass, or thats what they always tell me i would try fourths a little bit lower, I can' reach that higher notes.
luisiege2 1 year ago
@luisiege2 MEZZA VOCE. THERE IS NO MEZZA DI VOCE
viv3147 1 year ago
@viv3147 Thanks for the correction
luisiege2 1 year ago
Maestro Tenelli, how can I coach with you in person? Are you in Montreal?
Vaelsung1 1 year ago
This exercise helped me strengthened my high register or it may not to you. Learning how to sing is science as Tenelli describes. Do not under estimate your ability hidden within yourself. Thank you. Tenelli.
steakopera 2 years ago
HI 5!!!
reynaldomonterrey 2 years ago
Hier wird gezeigt wie es richtig geht. Der Sänger führt zwei periodische Massenschwingungen der Randstimmfunktion der Stimmlippen vor und die Pfeiffunktion. Der Vokal U begünstigt die Randstimmfunktion sehr. Idealerweise sollten die ganze Tonskala mit allen Vokalen gleiche mehrmassige Randstimmfunktionsmöglichkeit haben. In Vollstimmfunktion sollte ein Sänger auch nicht in der Tiefe singen. Leider singen viele Sänger zu vollstimmig und erreichen deshalb die Höhe nicht.
vocede 2 years ago
aah...so happy to see these lessons back. Bravo!
RocktheStageNYC 2 years ago
Thanks for this lesson Maestro.
pedurrod 2 years ago