This channel is a treasure, I just sing for fun at karaoke or on guitar, but I've always strained my voice from singing, it's crazy how much less effort it takes to sing the way you teach. I'm glad I came across your channel before wrecking my voice any more than I already have. Just bought the book, and looking forward to learning more! Thank you so much for sharing your knowledge but also for distilling it into such an easy to understand way!
Mike, what you just stated at approx. 11:52 I have been wondering for years. I am one of those voices. My light voice is someone else's medium or even full voice. Thank you.
Hello sir. I had no idea if I was lyric or spinto until I did the half breath out technique you described. I experienced much freedom, sustain and legato with it. Food for thought indeed. I may be a different vouce type than I thought. Results speak for themselves.
Very interesting Maestro Trimble! Loved this lecture. The difficulty though is that if you never meet or work with someone who has experience using one of these techniques you never have the chance to know if it works for you. This is especially so when these days most students study in Conservatories or College with singers who have never had a significant career but have extremely narrow views about what is or isn't acceptable singing - usually insisting that all singers sing as light and shallow as possible. Still even if you are lucky to work with a great singer, most of them do not know any other way to sing than their own, which is also not helpful if you have a different voice to them, or if you have a borderline voice that can cross fachs, where the choices aren't clear. And the other thing is that it isn't just a matter of knowing what the singer thinks they are doing, mainly most singers learn like monkey's by subconsciously absorbing information aurally about what a singer is doing, and getting their feedback on what you are doing. If a singer has no relevant voice type to work with it is a much harder path.
Thank you Mr Trimble, your video is as informative as always. I have a question about a very simple concept and I hope that you can give me some advice. When people are singing falsetto vs. not falsetto, what are the technical/biomechanical differences between the two (in term of air flow or muscle movements)? Originally I thought singing in falsetto or not is just a matter of where the resonance is happening - but in some of your other videos you demonstrated that one can hit the SAME note while having the voice resonate in different places in our body (eg. nose, throat, chest, the mask), and in those demonstrations you were not singing in falsetto. So based on that it seems to be that 1) resonance is for controlling the texture of the sound, 2) a method of resonance can be used to hit any notes technically, 3) where the voice resonates has nothing to do with whether one is singing in falsetto or not. Sorry if I am misinterpreting, and thank you in advance!
Amazing Maestro, Thank you for giving Example with Radames Aria! I’m studying the hol role now and the breath-stop method helped me a lot. Greetings from Vienna
hello from another student in Paris here ('Tenorissimo')- that was a good refresher on technique for me this morning ... I promise- Am looking into repertoire lol
Sir...Thanks a lot for sharing your knowledge on vocal technique.... I came across a German Technique / Stauprinzip by George Armin......could you elaborate if you are familiar with that..... Thks....
I find this very intriguing So how do I know if I am Lyric or dramatic I am A baritone /tenor Or a baritenor And am interested in singing gospel But I am cautious about putting the necessary compression gospel requires But especially if I am a lyric singer I don’t want to do this sort of extra compression
Hi sir! I very much appreciate your marvelous videos. There are several matters which had been huge help to me like "only down bow". I have a question: listening to Caruso he now and then makes a breathing sound "he" before a high pitch (Bjorling makes it too). Is it a "helping" up bow letting air pass freely trough vocal cords without flex?
Michael Trimble thank you very much. I have seen all (assume) of your marvelous videos. It is "nice" to see how you supposed to sing just after your career has done. Sang 25 years as a professional (FNO choir, tenor) but now being retired I really want to learn how to sing. Better late than never :) Wish I had a teacher like you 40 years ago. I sang some roles too and was only afraid how my voice (technique I lacked) works today. Maybe the situation is the same even having a good technique but then you can concentrate on "right " things, can’t you. Kiitos (thank you in Finnish)
Thank you for the great teaching ! What do you think about the low female voices in their low passagio, meaning the points of transition? Some mezzos and contraltos carry their chest quality very high, and do a mix as high as ,, a" above middle c. mezzos singing Verdi, HAVE to use that strong quality till f and g, if not they sound out of character. In other context, the chest register starts to be mixed very soon above mkddle c. Some singers nowadays do not use chest anymore above d .Is this a new tendency because of the recording techniques or because they are afraid of losing their voices too soon, so they try to preserve their forces. Same thing somtimes occurs to sopranos not using their chest register at all. Thank you for your consideration
Hey Michael. Thank you so much for this information. Your videos have been really helpful and I’m currently reading your book. I have a quick question: can these techniques also be used to improve the speaking voice? I always feel like there’s a huge difference between how my singing and speaking voices sound (my singing voice sounding better).
Maestro, which of the 2 ways works better on a baritone? I have a strong "chest voice". My "head voice" is not so good. My middle is really good and low notes, but, the passagio and high notes are a mess sometimes.
@@Tenoretrimble I think that is the reason, Im not having the same even emission in the scales and phrases. I will work on that. I wish to take some lessons with you, Maestro. But im from Puerto Rico. Im sure that with your help and amazing knowledge and experience I can take my voice to very high, professional level. I have been studying a lot your videos and I improved a lot since then. I was taught with his thing of the raised soft palate and the "focus" thing which gave me a lot of problems. But thanks to your videos I relearned and got back to the correct basics. I wish I can meet you some day to a lesson and most importantly to give my gratitude.
So youseful to me.... You Maestro saved my voice....🙏
You are such a blessing and a joy to listen to! Thank you mister Trimble!
This channel is a treasure, I just sing for fun at karaoke or on guitar, but I've always strained my voice from singing, it's crazy how much less effort it takes to sing the way you teach. I'm glad I came across your channel before wrecking my voice any more than I already have. Just bought the book, and looking forward to learning more! Thank you so much for sharing your knowledge but also for distilling it into such an easy to understand way!
Grazie maestro ,sei il migliore
Mister Trimble!! Those are worth more than gold!! Thank you so much!!!!!
Nobody more knowledgeable.
A great man indeed.
You're my here MT, and have no idea how much you've helped.🙏🏾
Mike, what you just stated at approx. 11:52
I have been wondering for years. I am one of those voices. My light voice is someone else's medium or even full voice. Thank you.
A necessary video
I can’t think of a better teacher...
Treasure this knowledge people!
Bravo Maestro ...Bonjour de Paris...Merci pour vos leçons
Thank you so much Maestro !!!
Hello sir. I had no idea if I was lyric or spinto until I did the half breath out technique you described. I experienced much freedom, sustain and legato with it. Food for thought indeed. I may be a different vouce type than I thought. Results speak for themselves.
Hi Maestro. Can you please talk a bit about Mozart tenor singing and proper breathing for Mozart?
Very interesting Maestro Trimble! Loved this lecture. The difficulty though is that if you never meet or work with someone who has experience using one of these techniques you never have the chance to know if it works for you. This is especially so when these days most students study in Conservatories or College with singers who have never had a significant career but have extremely narrow views about what is or isn't acceptable singing - usually insisting that all singers sing as light and shallow as possible.
Still even if you are lucky to work with a great singer, most of them do not know any other way to sing than their own, which is also not helpful if you have a different voice to them, or if you have a borderline voice that can cross fachs, where the choices aren't clear. And the other thing is that it isn't just a matter of knowing what the singer thinks they are doing, mainly most singers learn like monkey's by subconsciously absorbing information aurally about what a singer is doing, and getting their feedback on what you are doing. If a singer has no relevant voice type to work with it is a much harder path.
Thank you Mr Trimble, your video is as informative as always. I have a question about a very simple concept and I hope that you can give me some advice. When people are singing falsetto vs. not falsetto, what are the technical/biomechanical differences between the two (in term of air flow or muscle movements)? Originally I thought singing in falsetto or not is just a matter of where the resonance is happening - but in some of your other videos you demonstrated that one can hit the SAME note while having the voice resonate in different places in our body (eg. nose, throat, chest, the mask), and in those demonstrations you were not singing in falsetto. So based on that it seems to be that 1) resonance is for controlling the texture of the sound, 2) a method of resonance can be used to hit any notes technically, 3) where the voice resonates has nothing to do with whether one is singing in falsetto or not. Sorry if I am misinterpreting, and thank you in advance!
Amazing Maestro, Thank you for giving Example with Radames Aria! I’m studying the hol role now and the breath-stop method helped me a lot. Greetings from Vienna
thanks for this video!
hello from another student in Paris here ('Tenorissimo')- that was a good refresher on technique for me this morning ... I promise- Am looking into repertoire lol
Sir...Thanks a lot for sharing your knowledge on vocal technique....
I came across a German Technique / Stauprinzip by George Armin......could you elaborate if you are familiar with that.....
Thks....
I find this very intriguing
So how do I know if I am
Lyric or dramatic
I am
A baritone /tenor
Or a baritenor
And am interested in singing gospel
But I am cautious about putting the necessary compression gospel requires
But especially if I am a lyric singer I don’t want to do this sort of extra compression
Thank you for the video!
I was wondering around what age or how long it took to get your beautiful A note all the way up there!
Michael Trimble Thank you!
Hi sir! I very much appreciate your marvelous videos. There are several matters which had been huge help to me like "only down bow".
I have a question: listening to Caruso he now and then makes a breathing sound "he" before a high pitch (Bjorling makes it too). Is it a "helping" up bow letting air pass freely trough vocal cords without flex?
Michael Trimble thank you very much. I have seen all (assume) of your marvelous videos. It is "nice" to see how you supposed to sing just after your career has done. Sang 25 years as a professional (FNO choir, tenor) but now being retired I really want to learn how to sing. Better late than never :) Wish I had a teacher like you 40 years ago. I sang some roles too and was only afraid how my voice (technique I lacked) works today. Maybe the situation is the same even having a good technique but then you can concentrate on "right " things, can’t you. Kiitos (thank you in Finnish)
Thank you for the great teaching ! What do you think about the low female voices in their low passagio, meaning the points of transition? Some mezzos and contraltos carry their chest quality very high, and do a mix as high as ,, a" above middle c. mezzos singing Verdi, HAVE to use that strong quality till f and g, if not they sound out of character. In other context, the chest register starts to be mixed very soon above mkddle c. Some singers nowadays do not use chest anymore above d .Is this a new tendency because of the recording techniques or because they are afraid of losing their voices too soon, so they try to preserve their forces. Same thing somtimes occurs to sopranos not using their chest register at all. Thank you for your consideration
Hey Michael. Thank you so much for this information. Your videos have been really helpful and I’m currently reading your book. I have a quick question: can these techniques also be used to improve the speaking voice? I always feel like there’s a huge difference between how my singing and speaking voices sound (my singing voice sounding better).
Thank you for all your videos! Do you still take on new students?
Michael Trimble I sent you an email
17:50 - when I try all of these methods, my abdominal muscles activate which I don't think is the desired result.
I was wondering if the spinto runs out of air more quickly if they are blowing half of their breath out prior to singing?
I gotta be spinto or at least lirico-spinto, because I sing way better with half of the breath out
Maestro, which of the 2 ways works better on a baritone? I have a strong "chest voice". My "head voice" is not so good. My middle is really good and low notes, but, the passagio and high notes are a mess sometimes.
@@Tenoretrimble I think that is the reason, Im not having the same even emission in the scales and phrases. I will work on that. I wish to take some lessons with you, Maestro. But im from Puerto Rico. Im sure that with your help and amazing knowledge and experience I can take my voice to very high, professional level. I have been studying a lot your videos and I improved a lot since then. I was taught with his thing of the raised soft palate and the "focus" thing which gave me a lot of problems. But thanks to your videos I relearned and got back to the correct basics. I wish I can meet you some day to a lesson and most importantly to give my gratitude.
@@Tenoretrimble thanks a lot, maestro.
Türkçe altyazılı yaparmısınız veya çeviri
@@Tenoretrimble ı can speak turkish