Arturo Melocchi Academy
Arturo Melocchi Academy
  • Видео 8
  • Просмотров 13 905
Melocchi Voice Building U exercise: Bass Student Demonstration
In this video, watch a bass student demonstrate one of the most classic Melocchi voice-building exercises. By focusing on the deep "U" sound, this technique helps singers build volume, strength, carrying power, and range-essential qualities for a powerful operatic voice.
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For more information about the Melocchi method please visit my website www.arturomelocchiacademy.com/
Просмотров: 560

Видео

Melocchi Method EXPLAINED: The Vocal Technique Behind Opera's Greatest Voices
Просмотров 5522 месяца назад
In this video, we explore the powerful and transformative Melocchi technique, a vocal method that has shaped some of the most legendary opera voices, including Mario del Monaco and Franco Corelli. Learn how this method helps singers develop a rich and resonant sound that can cut through the orchestra without strain. Topics covered: 00:00 - Introduction 00:35 - Background of the Melocchi Techniq...
Why ‘Head Voice’ Is Ruining Male Opera Singing
Просмотров 3664 месяца назад
Before we dive in, fair warning-this video is a passionate rant. I’ve noticed an unsettling trend in male opera training, where modern vocal coaches emphasize techniques like “head voice” and “lightening the sound.” To me, these approaches are misguided and stray far from the rich traditions of true operatic singing. The greatest male opera legends-Enrico Caruso, Franco Corelli, Mario del Monac...
Melocchi vs LoMonaco: Opera Technique Showdown
Просмотров 7164 месяца назад
Hey everyone! Welcome back to the channel. Today, we're diving deep into the world of operatic singing technique, exploring two distinct approaches: the Lo Monaco technique and the Melocchi method. As a dedicated practitioner and teacher of the Melocchi technique, I'll be sharing insights from my experience. For the Lo Monaco approach, I've gathered research and feedback from my students who pr...
Melocchi Technique Results: Bass Student’s Transformation
Просмотров 5344 месяца назад
Bass Student Transformation through the application of the Melocchi technique. In the first clip, the student exhibits a constricted throat, high larynx, and nasal tone quality. After two years of dedicated training using the renowned Melocchi technique, the sound gained roundness, strength, evenness through the passaggio, and exceptional carrying power in the theater. For more information abou...
Giuseppe Giacomini rehearsing "L'anima ho stanca" from the opera "Adriana Lecouvreur"
Просмотров 9 тыс.4 месяца назад
Giuseppe Giacomini rehearsing "L'anima ho stanca" from the opera "Adriana Lecouvreur"
Arturo Melocchi teaching the role of Calaf to Gastone Limarilli
Просмотров 1,2 тыс.5 месяцев назад
In this rare audio, you can hear Gastone Limarilli studying the role of Calaf from G. Puccini's opera "Turandot" with his teacher, Arturo Melocchi.

Комментарии

  • @ioannisalexopoulos3166
    @ioannisalexopoulos3166 6 дней назад

    What is the aria he sings in AFTER RESULTS?

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 5 дней назад

      @@ioannisalexopoulos3166 It's Banco's aria from G. Verdi opera "Macbeth"

  • @pedromotta9324
    @pedromotta9324 8 дней назад

    Thank you for this excelent and generous class!

  • @Daragaman
    @Daragaman 18 дней назад

    Grande tenore del mundo

  • @raphaelhudson
    @raphaelhudson Месяц назад

    In the actual full melocchi video, melocchi is continually demonstrating how to sing using falsetto. You just did not show that part of the video. There is another video floating around with del monaco teaching a student and he demonstrates everything in falsetto too. Let alone the Lauri Volpi lesson videos where he is constantly using falsetto. As to Giacomini, you can literally here him doing LMDV exercises from falsetto regularly in both live recordings and studio. Giacomini had multiple teachers some of whom were unrelated to the melocchi school so it is hard to say where his ideas come from. He certainly had a very different approach from any of the other melocchi singers. He seems to have started quite influenced by Melocchi, but drifted more and more away during the 70s and early 80s.

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy Месяц назад

      @@raphaelhudson Melocchi is illustrating in half voice because he was already old in those videos. Mario del Monaco said that Melocchi never did exercises in falsetto, as also Marcello del Monaco who was the teacher of Giacomini, Cecchele, Mori, Zambon, Martinucci, Carroli and many others. You can also find a quote from Franco Corelli saying that falsetto is useless. In the Melocchi method falsetto training is considered absurd and a waste of time. Also Giacomini got his Metropolitan contract while studying with Marcello so the technique that he used all his life was that of Marcello del Monaco. In my page you can find a translated interview with Giacomini speaking about the Melocchi technique.

  • @Sabininho
    @Sabininho Месяц назад

    I was watching this in university back when I was studying opera singing And it is still a huge moment for me

  • @前島まさる
    @前島まさる Месяц назад

    E' Del Monaco?

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy Месяц назад

      @@前島まさる Gastone Limarilli

    • @matiasaquino493
      @matiasaquino493 9 дней назад

      Per me si. Evidentemente é Mario. Si ascolta perfetto quando parla

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 9 дней назад

      @matiasaquino493 Le audiocassette originali sono state ottenute da Gastone Limarili. Contengono le sue lezioni con Melocchi.

    • @matiasaquino493
      @matiasaquino493 9 дней назад

      @@ArturoMelocchiAcademy si ma... Lui ha detto che era lui? Puo essere un registro di Mario datto a gastone. Penso io..

  • @AlexOrozco-Social-Pariah
    @AlexOrozco-Social-Pariah Месяц назад

    My uncle / Singing teacher showed me this video in one of our very first classes and I still remember it with so much affection. My uncle is gone, but his teachings are still with me, even when this video wasn't easy to find after a few years. Thank you for uploading it.

  • @depressedlarynx
    @depressedlarynx Месяц назад

    It is a good sound. Do you get the student to consciously start covering the voice at a specific note, or do you allow the deep OO/U vowel to naturally bring the cover in as the voice moves through the passaggio? I have seen convincing arguments for both approaches - it seems you are taking the second approach here, correct?

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy Месяц назад

      @@depressedlarynx Yes, the deep U naturally covers the voice. Even with other vowels, if the laryngeal position is correct, the voice covers itself without any manipulation of the lips or tongue, as was taught by Melocchi.

    • @depressedlarynx
      @depressedlarynx Месяц назад

      @@ArturoMelocchiAcademy Interesting. Thanks for responding. I can see how that approach would work well for closed vowels like OO/U and EE/I and maybe also OH/O and EH/E but can't really see how it would work for AH/A. Surely there would be some movement of the lips and tongue towards a deep OO/U vowel through the passaggio to keep the larynx low if you are coming up from an open AH/A vowel? Could you upload a demonstration? Or does the Melocchi approach not really use the open AH/A vowel in exercises just below/through the passaggio?

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy Месяц назад

      @depressedlarynx I'll try to record a tenor student doing an A vowel exercise in the upcoming weeks. There is no need to modify the vowel with the lips or tongue, because the modification happens in the larynx. The vowel modifies itself in the passaggio because of the laryngeal position. Of course there's a small difference between how Marcello del Monaco and Melocchi would approach the development of the passaggio, but it's a very technical and niche topic.

    • @depressedlarynx
      @depressedlarynx Месяц назад

      @@ArturoMelocchiAcademy Thank you. I would really appreciate the recording.

    • @arthurcornelio
      @arthurcornelio 29 дней назад

      Great lesson!

  • @reichenbach3200
    @reichenbach3200 Месяц назад

    Fascinating!

  • @tylorlamani1274
    @tylorlamani1274 Месяц назад

    I'm loving the clear explanation. Thanks. Please upload exercises and examples

  • @andrewmurphy6833
    @andrewmurphy6833 2 месяца назад

    The greatest tenor after Caruso

  • @operadog2000
    @operadog2000 2 месяца назад

    A vocal magician! R.I.P.

  • @augustocelsi2050
    @augustocelsi2050 2 месяца назад

    Troppo lenta

  • @hovareq6044
    @hovareq6044 3 месяца назад

    And how many years between this two recordings?

  • @matthewwithers1185
    @matthewwithers1185 3 месяца назад

    I study with someone who was trained by Lomonaco, had a great career. In his studio we actually do a combination of Lomonaco and Melocchi exercises. It has really opened up the voice to a level I didn’t know was possible.

  • @lucabernard489
    @lucabernard489 3 месяца назад

    There are much more benefits to develop the falsetto. First of all, all great singers had it strong. Secondly, it stretches the vocal chords, which is very healthy. Thirdly it strenghtens the CT muscle which gives an efficient vibration (ellongated chords). CT is also responsible for pitch change, so it makes sense to strenghen ity 4. Fasletto gives the sensation of release (unobstructed airflow). 5. It allows for the correct onset, which is NOT the glottal attack. In fact you can train that onset on an open throat without any constrictive tension from the TA. So yes, falsetto is extremely important for vocal development and you should do it with your students too.

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 3 месяца назад

      @@lucabernard489 Just wanted to point out that it wasn't used by the great singers that I mentioned in the video (Corelli, Del Monaco, Cecchele, Titta Ruffo and so on) and it isn't part of the Melocchi method.

    • @lucabernard489
      @lucabernard489 3 месяца назад

      Ok. May I ask you what documents you possess to reconstruct the Melocchi method?

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 3 месяца назад

      @@lucabernard489 I have studied the method with direct students of Marcello del Monaco and Mario del Monaco who both studied with Arturo Melocchi.

    • @lucabernard489
      @lucabernard489 3 месяца назад

      @@ArturoMelocchiAcademy ok. I’m glad for you and I support the attempt to reconstruct the understanding! Melocchi was clearly a great teacher. He went for clear vowel, register development, right vibrato ect. But it will be difficult to truly understand the melocchi method if all we have is the student of the student. Mario and Marcello didn’t have great success as teachers, and neither did their students to my knowledge.

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 3 месяца назад

      @@lucabernard489 I invite you to read my blog if you want to learn more about the method. In the Melocchi technique we don't use the terms register development, clear vowels and so on. Mario and Marcello del Monaco were teachers of the greatest singers of the XX century like Gianfranco Cecchele, Nicola Martinucci, Silvano Carroli, Gastone Limarilli, Giuseppe Giacomini, Angelo Mori, Robert Kerns, Amadeo Zambon, Maurizio Frusoni and many others. They sang in the best theatres of the world like Teatro La Scala, The Metropolitan, Covent Garden, Wiener Staatsoper and so on. If you consider these singers bad then we don't have anything to talk about.

  • @lucabernard489
    @lucabernard489 3 месяца назад

    nonsense. Release means unobstructed airflow. It doesn’t mean as much airspeed as possible. LoMonaco had the most profound knowledge of anyone of the voice. Everyone should acknowlegde that instead of inventing new methods which haven’t and won’t produce any results.

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 3 месяца назад

      @@lucabernard489Airflow is naturally "obstructed" by the vocal cords that close to produce sound so it's physiologicaly impossible to have unobstructed airflow in singing. I imagine you are not talking about the Melocchi method which created one of the greatest singers in the history of opera.

    • @lucabernard489
      @lucabernard489 3 месяца назад

      @@ArturoMelocchiAcademyI mean only obstructed by the vocal chords. Thank you

    • @1UShawn
      @1UShawn 3 месяца назад

      ​@@ArturoMelocchiAcademy As a knowledgeable person about the Lomonaco approach, I can only assume you are missinformed about what it truly is and you will be amazed and changed your mind about it if you were to fully grasp it but unfortunatly only a small portion of people did. First there was Stanley, then Lomonaco and at last Jeremiah Silver. Although I saw you claimed that Douglas Stanley didn't have real result to show for and I guess you mean the same about the others of the same lineage, I can only beg to differ. As much as I respect Melocchi and admire his approach I think it is far more similar to the Lomonaco approach as someone might think; there are many crossings. Second as generation goes each next generations of the approach always had a decline in quality. How many students of Melocchi really master the approach and understood the genuis of his work? Del Monaco, Limarilli and Venturi? I mean Stanley had countless pupil that were just as great. Lomonaco with Hadley alone rest his case. Then there was the students of Marcello Del Monaco that already started to lose in quality and already students of students (third generation) were almost complet shit... Which leaves to wonder where did you learn the approach yourself and when did you become an expert on the authentic Melocchi approach. On top of all this, the Lomonaco approach had had great results with all voice type from man and woman. I am sure Melocchi himself did but none of the pupil have learned to teach the woman voice properly, Marcello included ( with all due respect). It seems to me logical to assume that a technic that incorporates nuances, equilibrium and work just as well with all voice type is a proof of the complexity and finest of one's approach. In other words, It is not just chest voice and low larynx, otherwise anyone could do it. To recapitulate the message here: First, Melocchi was great. Then, Lomonaco was equilly great. Also, each passing generation after Melocchi lost quality from the original teaching until the third generation where it goes from total crap to not bad (but nothing compare to Del monaco). Second important point is: Who are you, where did you learn the Melocchi approach, who taught you, for how many years, did he specificly trained you to become a teacher, did he explained the theory behind all the exercise. You get the point. In short, what are your credential that allow you to claim to understand well enough both technics and judge one superior. And third point, it is all about chest and low larynx. Lomonaco was never about getting breathy or encouraging subglotal pressure. To end on a positive note, we are on the same side of the battle here, we shouldn't fight about this. All we want is to find great voices back and end this head voice squeaky tenor crap. So let's unite because both Lomonaco and Del Monaco were amazing singers.

  • @MrOlogramma
    @MrOlogramma 4 месяца назад

    Certo ci vuole coraggio a dare suggerimenti d’espressione a Giacomini … una delle voci piú espressive mai sentite ❤

    • @antoninolicata6425
      @antoninolicata6425 3 месяца назад

      E' vero !

    • @andreafasoli8186
      @andreafasoli8186 16 дней назад

      Glielo da', quel suggerimento, uno che di Opera non sapeva nulla e ne diresse assai poche in verità. Si chiamava Gianandrea Gavazzeni ( che dirigeva quell'Opera.. ). Il video fu fatto dal baritono Giuseppe Riva. Esiste anche la versione in scena, della stessa rappresentazione, con un video fatto da dietro le quinte dove Riva dice, con grande ragione, alla fine dell'aria, "Il più grande tenore del mondo". ruclips.net/video/bQuqg7znLkk/видео.html

  • @mariateresarossi4890
    @mariateresarossi4890 4 месяца назад

    Grandissimo artista lirico tenore grande amico mio e artista di grande prestigio. Un abbraccio Nadia Rossi ovunque tu sia

  • @rotemaru
    @rotemaru 4 месяца назад

    Is that Mirella Freni in the back?

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 4 месяца назад

      Yes.

    • @St.Garoosh
      @St.Garoosh 4 месяца назад

      @@ArturoMelocchiAcademyI know she’s thinking, ‘schifo! Una voce ingolata!”

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 4 месяца назад

      @@St.Garoosh She says to him "Bravo" after he finishes the aria.

    • @sugarbist
      @sugarbist 3 месяца назад

      @@St.Garoosh Giacomini sang many times in Chicago and at the Met. All to very good reviews and not one review stated that his voice was throaty or as you say Ingolata. It was a big voice in the theater that carried well.

    • @St.Garoosh
      @St.Garoosh 3 месяца назад

      @sugarbist sorry you dont hear it. Big voice has nothing to do with it. Listen to Correli, Bjorling, Pavarotti Caruso, any of the great tenors. None of their voices are ingolata.

  • @leonardevans8691
    @leonardevans8691 4 месяца назад

    In my early 20s, I heard GG at The Little Gem Church in Manchester in the early 1980s. He was on tour at the time with Royal Opera in La Forza Del Destino. He sang Panis Angelicus by Cesar Frank accompanied by the church organ. I immediately recognised his voice was the biggest voice I had ever heard and of a beauty as well. It was an extraordinary experience. And afterwards the congregation waited outside and applauded him as he came out with the priest. It was like a scene from a movie. Remarkable memories!

  • @tinkerwithstuff
    @tinkerwithstuff 4 месяца назад

    Are the thoughts behind the Melocchi development of voices written down anywhere, btw? I was looking for something like that years ago, and gave up. The dedicated larynx lowering exercises is something I'm curious about. Also because I'm skeptical of the idea that you _need_ that to be able to fully use them at some point. It's basically isolation exercises. Manual laborers don't do those either, to become strong enough to do more complex, physically demanding tasks - they start small, and improve by doing more. Like chimpanzees just do what they do and become strong enough to tear limbs off, with zero isolation exercises. Why I'm personally more skeptical of giving the below-hyoid muscles deliberate attention is that I was actually trying to do something like that in the past, and ended up somehow putting my bad posture from computer work (neck forward) into it and partly relied on neck muscles to do this, which didn't go well :D Now, if the Melocchi concept had something to prevent that problem, I'd be very interested to hear about it.

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 4 месяца назад

      @@tinkerwithstuff Yes, I have a blog where you can find a lot of articles about the Melocchi technique. www.arturomelocchiacademy.com

  • @tinkerwithstuff
    @tinkerwithstuff 4 месяца назад

    It does sound like a nice result. Reminding me a bit of Jerome Hines, though I need to admit I don't know a lot of basses.

  • @tinkerwithstuff
    @tinkerwithstuff 4 месяца назад

    That Melocchi clip does not demonstrate that they never did falsetto exercises - there's not much point in showing it for this? Not even the full hour or whatever clip that's elsewhere does that. It may depend on the stage of vocal development how much that's done - I'm not 100% sure. The idea of "developing both registers to turn them into one" seems rather old, though, it's not an invention of LoMonaco or Stanley.

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 4 месяца назад

      As a student and teacher in the direct lineage of the Melocchi school, I can tell you that no one in this tradition trained in falsetto-not Del Monaco, not Corelli, not Giacomini, no one.

  • @tinkerwithstuff
    @tinkerwithstuff 4 месяца назад

    LoMonaco = Singing _on the breath,_ too! His (or descendant's) students that came to you must have been confused about this admittedly counterintuitive terminology. "Release" there means _not blocking_ the air _in the throat_ by any scqueezing, scraping, pinching whatever, especially notable the _valsalva maneuver_ that kicks in easily as a reflex to effort. The direct clue that they cannot possibly mean just letting lose and not singing on the breath lies in the incredible emphasis on _pushing the belly out_ and when vibrating towards the slightly higher pitch during vibrato, esp. on higher notes where you need more of it, pushing outwards even more (periodically, with the vibrato) to _compensate more_ the increased need to keep the aiways open and not let the deep openness collapse even a tiny bit. And let me add - just listen to the Tom LoMonaco concerts and the earlier clips of more opera material (and his brother Jerome, too!). He certainly should have been quite audible, lol. The tendency of keeping the abdomen outwards is also mentioned by Jerome Hines in his books, as something that most of the greats said they did.

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 4 месяца назад

      As I mentioned in the video, the instruction to 'release the breath' often leads to either a breathy sound or increased subglottic pressure. It would be more effective to instruct the student to 'release the sound,' thereby avoiding any unvocalized breath being 'released.' The breath shouldn't be released, but converted to sound in the larynx. This is the "leaning the sound on the vocal cords" that Franco Corelli and Giangiacomo Guelfi used to speak about. In the Melocchi school, the primary focus is on the laryngeal level. Until the throat is open, there's no point in attempting to engage the abdomen, as this would only create unnecessary tension in the body. Once the vocal apparatus is developed, the singer naturally finds the correct balance of release and hold in the breathing system.

    • @zaitounlouis8400
      @zaitounlouis8400 4 месяца назад

      The difference between . « sull fiato » and « col fiato »is really interesting!!! I had lessons with a lot of teacher including italian old school tenor, and a famous Lomonaco lineage teacher. And i felt really the difference of approach. I remember from Piero Visconti’s lessons « Ferma la laringeeee!!!! » . What we call « breath stop » or « no leak of air » is taught in italie by the few old singers i saw… « sull fiato » in the sens of vocal cords which are staying close on the breath. Thanks for this crucial information which made a lot of sens in my head 🎉

    • @zaitounlouis8400
      @zaitounlouis8400 4 месяца назад

      In an other hand, for the discussion about « did the mellochis student integrate falsetto to their exercise », i think i heard a video of Del Monaco saying that he were using sometimes intensely Mellochis technique for one month, then he were switching to lighter exercises for the cords which include falsetto. Îm not sure i’ll find the link. In an other part i assume that Gigli were using falsetto for work (i honestly don’t know), he was not a Mellochi student but he was one of the bests…

    • @zaitounlouis8400
      @zaitounlouis8400 4 месяца назад

      ruclips.net/video/2g1bJG12jms/видео.htmlsi=KiKv4cefnnfBb3WQ

    • @zaitounlouis8400
      @zaitounlouis8400 4 месяца назад

      ruclips.net/video/2g1bJG12jms/видео.htmlsi=KiKv4cefnnfBb3WQ (i correct he is speaking about working on « profondita » with mellocchi / and care more about « altezza » while he searched too much in the other direction, to balance. No mention of falsetto work

  • @tinkerwithstuff
    @tinkerwithstuff 4 месяца назад

    I wonder how old the "old Italian" school really is that DelMonaco etc. sang by. Because, not only the "founder", if you will, of a school that's often regarded as closely related, *Douglas Stanley,* writes in all of the versions of his "Your voice" book, in several places in the books, very clearly that he thinks lowering the larynx deliberately and more so excessively, is wrong, creates a throaty sound and "ruined many a fine voice". (Although people descending from his teaching tend to teach lowering. Not sure about Cornelius Reid.) So, he wasn't Italian. How about *G.B. Lamperti?* His pupil, William E. Brown, wrote in a book about "his maxims", with an own chapter of this title: _Do Not Yawn._ In an interview with Stefan Zucker, Franco Corelli also said something like "today, due to the big orchestras, we need the lowered larynx, for the greater volume", sort of implying that it used to be different in times before his.

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 4 месяца назад

      Firstly, Douglas Stanley produced a very small number of high-level singers compared to Melocchi and Del Monaco, so I don't think there's much point in even considering him an authority in singing. One reason for this scarcity of successful students could have been his reluctance to work directly on laryngeal position. It is said that the low larynx technique began to develop with Gilbert Duprez, who discovered that by lowering the larynx, he could carry the chest voice up to a high C. One of the first written treatises on the benefits of actively working on lowering the larynx was authored by Leone Giraldoni, a baritone who created the roles of Simon Boccanegra and Renato for Verdi himself, singing in the premieres of these operas. So, this 'laryngeal' school of singing was already being taught around 1850 and probably even earlier.

    • @tinkerwithstuff
      @tinkerwithstuff 3 месяца назад

      @@ArturoMelocchiAcademy Interesting! Thanks for the names etc.

  • @fredericgaufichon7373
    @fredericgaufichon7373 4 месяца назад

    what an amazing archive ! thank you !

  • @enriquea.6758
    @enriquea.6758 4 месяца назад

    Thank you for these videos. For years I have been following the Melocchi method. What is your name? Do you teach?

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 4 месяца назад

      Yes, you can find my contacts on www.arturomelocchiacademy.com/contact

  • @ЛюдмилаСевастополь-ы4у

    Фантастический голос!!! ❤

  • @salvoferraro6976
    @salvoferraro6976 4 месяца назад

    Da brividi.

  • @MatteoMarroneTenore
    @MatteoMarroneTenore 4 месяца назад

    Thank you so much for posting this! I have searched and listened to all of Giacomini's recordings multiple times but I never heard this. What a joy to hear that voice again - glorious as always.

    • @1Turandot
      @1Turandot 4 месяца назад

      One of the greatest underrated dramatic tenors!

  • @UnityCZ
    @UnityCZ 5 месяцев назад

    The before sounded like the singer was studying LoMonaco technique, is it true?

    • @ArturoMelocchiAcademy
      @ArturoMelocchiAcademy 5 месяцев назад

      No, but in a bit I'll do a video about the differences between the Melocchi and LoMonaco techniques.

    • @UnityCZ
      @UnityCZ 5 месяцев назад

      @@ArturoMelocchiAcademy Ok great, keep making videos please, really interesting stuff

  • @Simonas_Strazdas_Bass
    @Simonas_Strazdas_Bass 5 месяцев назад

    Thank you very much, dear Maestro! ❤