Sadly, Joshua died of colon cancer 2 months after this video was made. He left behind a wife and 3 children and a broken-hearted voice teacher to remember him and his wonderful talent. It was a genuine, major loss to the world of singing. I know i will never forget him, He was a fantastic person and a fantastic tenor on his way to fame and fortune.Those of us who knew him and and heard him sing can never forget him as a person or his fabulous voice. Michael t
This video has stuck with me ever since I saw it. Seeing someone like Joshua demonstrate what you can do with proper breathing and appoggio is both inspiring and relieving. It's not impossible after all!
@@jynxyuhhhh He half did haha, he's implying that he is naturally talented so he didn't have to work hard for it. But if I had to guess he had to work his ass off to get there
I am recently having to retool. I had been singing with tension and a lifted larynx developed from pushing brilliance. I had no idea how bad it was before starting with a new teacher 28 years after graduate school. At 52 it's never to late to start again. I have already improved my sound after watching your videos and listening to my new coach.
Hi Michael All the Tenors in Sweden inclouding me pushing diafr down and get tension in trouth!!! To avoid thats we raise chest to open up !! This is the way to do IT !! I have Seen all your videos the hole night and you are a genius !!and Im taking My respons to this video back and I Will teach/Use your material for now on. I Will Send you video before this and after IF you want but this is the right way. The tenor in this video is brilliant. Thank you so much! Peter Lundgren in Stockholm
For me La messa di voice is light and its I'm fogging up a pair of glasses. Wow, that could be a great way to explain it to students and I just thought of that lol. My vocal instructor said I'm mixing when I had my first lesson with him. I got it now and it's consistent. I am incorporating it in singing. Two years it took me to be able to do it. I can't wait tell I'm as good as this guy. I think I'll go perform for money then. I learned to sing just for fun cause I wanted to sing all the Pop songs and now there just easy. Looks like I might make this a carrier.
Thank you Michael for continuing this method of diaphragmatic control to eliminate the need to modification vowels, cover, switch modes etc. to blend the resonances and maintain proper fold compression. Too many coaches have no idea about this method and how it frees the voice so easily and simply. I was taught this method 20 years ago and continue to teach it my students.
how? do you have someone else demonstrate it for you? at least learn how to sing a correct vowel first. Dumbass. You are so far behind this teacher and student it's not even funny. well it kind of is. this is some kind of weird vocal virtue signalling.
I agree, in that vowel modification is used by opera singers along with proper breath support (for that kind of high volume singing), so they are both required. And if you don't modify vowels in pop singing you will often sound like you are yelling and you can damage your vocal cords. The only other thing you can do, since you'd be using a mic, is to go soft/breathy as you sing higher notes and then "flip" into falsetto, which is quite common. In fact, a major problem, IMO, that perhaps a majority of pop vocalists have is that they don't know how to modify vowels!
@@MyristicMystic They modify vowels sometimes, but it's not as drastic as it can be in classical singing. If you're singing in Italian, then I believe it's much easier as the vowels lend themselves to modification. In pop singing in English, there are diphthongs and triphthongs as well to deal with. If you modify too much, there's a risk of sounding too classical when singing contemporary styles; in this case, keeping the vowels long and vertical doesn't lend itself well for the sounds needed in pop music (not all the time anyway). For instance, there's a lot of twang/high end used in pop music that you wouldn't hear in classical or opera because those sounds would be deemed too "spread", too "open", and just plain inappropriate for the desired sounds but it's done all the time in contemporary sounds because the desired sounds are different in these styles.
His name was Joshua Quesada. He died of colon cancer last year. We miss him terribly as a person and as a fabulous young tenor with a brilliant future in the opera world. His talent was without limitations and he was a wonderful student.. smart and very musical and a good-looking young star-type, too. Thanks for asking about him. Michael t
@@Tenoretrimble Maestro Trimble, I'm so very sorry for your loss 😞 I can't comprehend why we seem to lose such stunning artists on this planet and yet seem to have an abundance of unsavoury characters. May this fine performer rest in peace. Blessings and deepest sympathy to his family.. 🙏
I've been taught to keep my abdomen in a fixed position (pushing down). Then I started to realize that I was basically blocking my airflow contracting my abdomen to not let my belly inwards. So I started to think my belly going inwards during exhalation but still progressively keeping a contracted abdomen to gradually manage my air flow. My voice started to free out and I can regulate my volume by letting more air flow to come up. Do you think I'm in the right direction ?
hi michael, thanks for this video, you repeatedly say 'the diaphragm stays perfectly still' but this confused me because if it were perfectly still, no air would leave the lungs.. did you mean it moves extremely slowly? please correct me if im wrong.. and also, where is the voice power coming from in the high notes? lower back tension/pushing? diaphragm tension/pushing? or both?
Michael Trimble thank you for your response! I believe i have mastered breathing into my lower back, it took me six months to get it to a good level, and now i am capable of the ‘breath stop’ too.. but what i wanted to know is, when exhaling (particularly in high notes) there (i assume) must be some sort of increased exhalation pressure coming from somewhere.. because of the increase in intensity and volume.. correct me if im wrong, but if im not, where do i apply this increased pressure from? Another way to ask my question would be for me to say, at the start of this video, your student is asked to sing in falsetto, then gradually push to make the voice louder and bigger, what i want to know is, which exact muscle/s he is using to squeeze the sound out to increase the volume and intensity of his voice?
hello Michael , I am what we called in France " Fort Tenor" in Italian : Dramatic Tenor , but i always struggled wih very high notes except sometimes when i was very relax and did high not by surprise reaching C+ and even D one time, and i understood that my problem is the fact i have a NO appogio at all when I start singing my diaphragm was completely inhibited and people thought i was even a bassbaryton, until a professional dramatic tenor laughed and told me I was Tenor which surprised me . then just by imitating this dramtic tenor i reach A but with no apogio and the wrong idea of "fermer les sons et les couvrir" instead of open throat ...you can imagine the fight specially if yo have a strong larynx you put your effort, "support " on it...then I heard the word open throat , that what i was feeling to do instinctively but people always toldme NO ... so I left and work alone but I haves still problem with appogio ....do you have any exercise to developp it ? Thank you in advance for your reply
Thx Michael, yes my problem is "the Lean of the breath against the diaphragm (the "appoggio")" yes i would like to take some lessons with you ...where are you based?? london New york? before I saw your videos i watch Franco tennelli on you tube who says you have to use the caruso's method.I have seen your comment on john vickers it is the same for me ! and I start to understand aLittle bit of the lean but I loose power and presence when i go up ..so i found an escape to climb: sing as a light tenor in the very high ...then i can reach in vocalise even high D now but always with striction , when I start to sing i sung Rock n roll and i get the wrong habit before i discover Opera... I was always very good with falseto, very natural for me I coudl sing the aria of Carmen ..lol and i have power specially even on counter G or A and Bflat ..strange ...and now i can go as bass on D low but not with resonnance as Bass , like the russian tenor Klossowski, I think you know him. I have seen you video with the young tenor you trained , very nice an easy result obtain, if i could do that with my voice...i would be happy , just for amator purpose...to say i knew I could stand and HighC in teh same way as a Corelli or Tamagno or Caruso .if you are in UK it would be easier for me to come are you in the USA??? all teh professionnal tenor sy the same as you on interview Lean Lean ..the mystery of singing...thx for your reply ...My first name is Gino
2 questions: 1. Do you recommend tensing the lower abdominal muscles during singing? 2. Are there any famous modern tenors who use a fully supported technique without vowel modification?
@Madara Uchiha Aren't those opposite things? How can you exhale while pushing out the abdomen and tensing it? Conversely, how can you exhale while contracting the abdomen without tensing it?
It occured to me, correct me if I'm wrong, but the reason the term "covering" is only used in America is because of the vowels. In Romance languages the vowels are "pure". In America, the act of "covering" or "vowel modification" is simply the idea of making the non-pure or splatty American vowels into pure vowels. So the word bat has a splatty or wide, aah, sound which does not exist in the romance languages for example. Therefore it would be said that you have to "modify" the vowel. If you sing All vowels purely (as in the romance language vowels) you need not "cover".
Is there a Trimble course on RUclips that starts at the basics and goes chronologically? I love the information, but it seems piece meal. This is the closest I've come to lesson #1 after searching. Looking for an online singing course
I feel that messa di voce on a C5 doesnt get the chest feeling i get for example in an A4 or G4 i mean its a lighter feeling...Is that common or am i doin something wrong here?
I think it depends on your vocal technique i.e., how your support, breath management and resonance are. If you have managed to connect your voice i.e., sing within your zona di passaggio without flipping into falsetto, then you can work on your technique to make a C5 "chestier". I love doing messa di voce on a B b4.
Hello, I am a tenor working too on my vocal technique; I`d like to sing as effortless as him. I experienced this effortless singing before and its always a pleasurable, golden feeling of pure happiness; I`d like to have really full control over it though; it has a lot to do with hearing and also sensation of room and being completely calm, thats what I can tell from my experiences. What is the name of that great tenor? I`d be glad to listen to some of his performances if possible. tenor? I have a teacher who is a soprano but seems to have problems with her voice often and also recommends liptrills, and I`d like to explore together with her the real art of Bel Canto. We are from Germany, and right now I`m translating your video on a script so I can share your wonderful techniques also with German singers I know. Would be glad to hear from you, kindest greetings, Jerôme
"pleasurable, golden feeling of pure happiness" every time after a vocal lesson i feel reborn and i have this high that lasts for like 3 hours and i just go around telling people how singing is happiness and how when i concentrate fully and give my self to making the corect sound i just feel so good :D.
+Michael Trimble Hallo nochmal! Entschuldigen Sie bitte, dass ich nicht sofort zurückgeschrieben habe, irgendwie habe ich es vergessen, und die Seiten und Videos auf RUclips sind so verzweigt wie ein Dornenbusch.. Ich habe Ihr Buch gelesen und finde es sehr inspirierend, insbesondere die verschiedenen Ansichten der Sänger über die richtige Gesangstechnik (Einer meiner Lieblingssänger ist wohl Helge Roswänge, er hat einfach alles: Die fundierte Technik, den Charme und den Pathos.. Besonders gefallen mir seine Aufnahmen "In fernem Lande", "der Postillon von Lonjumeau" und "Ach so fromm" aus "Martha".) Ich habe übrigens für mich herausgefunden, dass ich mich doch eher im Baritone-Fach zuhause fühle. Das stimmliche Potenzial zum Tenor ist zwar da, aber charakterlich ist es wohl erstmal für mich wohl der Bariton, in dieser Lage habe ich am meisten Spaß am Singen. Meinen Stimmumfang werde ich einfach erst einmal allmählich wachsen lassen. Ich werde auch erst einmal hobbymäßig singen, meinen Respekt an Sie und alle, die beruflich singen. Es ist wirklich eine wunderbare Kunst. Vielleicht mache ich irgendwann auch ein paar Aufnahmen und stelle sie auf RUclips. Alles Gute und viele Grüße aus Deutschland, Jerôme H
Hello Sir! Greatly enjoying these newfound videos. I am one of those young bass-baritones who pray at the altar of George London, and have always thought him the pinnacle of low voice vocal technique. Now recently I've heard some singers/teachers saying that George had a somewhat "manufactured" technique, which they blame for his unique tone (which I love) and wobble in the voice as he aged. I've heard claims that his voice was actually "muffled" so to speak, with a very low in the throat depressed larynx style of placement. I find this hard to believe, as few who sing Wotan can be described as "muffled". Any thoughts on the matter?
Its called falsetone. You are looking for the point where there voice is between head voice and falsetto. It needs to be partly more head from my experience. From that "core" you can make a messa di voce.
@@ShoutingWooo No it is not. It is about supporting the voice enough. By giving more support of air flow you will do a crescendo. But never push the sound to the front, always to the back as it is called "inhaling the voice". For that you need to have a good teacher.
Amazing student and amazing teacher. Reading your book hast also confirmed the later. I do wonder though about the breathing of the student: In your book you talk about the inward movement of the abdomen during inhalation in order to maximize the expansion in the lower back and therefore the lowering of the diaphragm. While his utilization of the breath is a sight to behold (seriously, his appoggio his world-class in my opinion), I am however able to detect an albeit very minor expansion of the solar plexus area during his inhalation. Shouldn't his his whole abdominal region move inward (Caruso, Rosvaenge) or at the least be completely still (Pavarotti, Tucker) during inhalation? This question is of personal interest to me as well, as the student's method of inhalation is very similar to what I was taught and have been using quite successfully. The method being to let the expansion of the epigastrum happen, while at the same time limiting aforementioned expansion by focusing on maximizing the expansion of the lower ribs. Or maybe do I have it all wrong.... maybe only the lower abdominals should move inward during inhalation, which would fit in with the method of inhalation demonstrated by your student. I would sincerely appreciate some clarification on that matter, Mr Trimble. Thank you!
Woao this all sounds like very hard work! Stupid me i thought singing is a natural thing! How can i sing naturally if i have to think about all those things at the same time..it looks like a friggin abdominal workout at the gym, instead of doing a pleasure thing, i.e. "singing"
Sergio Dario operatic singing is exhausting, once the basics are learned you gradually add more skill through lessons like Michael is talking about. In my time singing with him breath is always the foundation, once the proper breathing technique is established then a lot falls into place. Though it is still a work out, but like a work out you get stronger over time. Singing for me came very naturally but when I met Michael he built on my natural ability and literally after my first lesson with him I was singing clearer, stringer in my breath and an insane amount of knowledge on what it takes to pursue a professional opera career. If it was easy, everyone would do it. All the best -Josh (the guy in the video)
@@bubbaq hey Josh! May I ask when Mr. Trimble mentions the down bowing action, are we to imagine our actual breath to be sent down in the staccato point in that way or is it something else?
Aaron Parreno the down bow is in in reference to how you release and control the breath. As in a violin when you are making long smoothe controlled strokes there shouldn’t be any jerking movements, same as in the diaphragm as you sustain the note. Whether it’s a high note or not it’s all clean and controlled as the breath releases.
@@bubbaq Thanks for the reply! I'm a hella skinny dude and I'm finding it hard to breathe and expand phaha. If you have the time to answer another question if you don't mind, is this "airbox" of breath created only in the lower back? Or does it START from the lower back and we feel the expansion go up to our chest and that's where the staccato point can be leaned on? I'm confused about sending the air up into the chest :/
Très instructif les cours de monsieur Michael Trimble 👍👍, mais dommage, étant français et ne parlant pas hélas l'anglais, j'aurais apprécié une traduction sous-titrée en français bien sûr ?, merci tout de même à ce professeur de chant pour de ses cours si intéressants !!!
Hi Maestro Michael. I have been reading your book and watching your videos and am learning a great deal. When Joshua (gorgeous voice!) goes from the lower to the higher note, the diaphragm or lean remains on the lower chest...is there any action anywhere in the body? Should you feel any expansion in the lower back for example or anything else?
so i have this problem where i start in head like this guy did but when i try to lean in to a more chesty sound like him i get like a tiny break its feels like im closing a different part of the vocal chords for a more chesty sound and cant make it unnoticeable do you have any advice or a video i should watch ? im binging your videos today hopefully ill find some answers for my singing issues
I have been singing for 40 years. Had to stop because my technique got too bad. I wouldn’t be able to do this in one breath. Very painful to lose my first love of singing
Dear Michael, this approach seems to build an choir-wise narrow voice with very even, but tiny emission. I think this will happen with any type of tenor voice, even a dramatic tenor this way will sound like your student. The "mass" of the vocal folds closure is small, so the acuti are bright but they lack richness. Also I noticed that you are a little bit cunning when you talk about covering. Your student from the very beginning, with the onset, produce a vowel that is a mixture of A, O and OO (like Russian U) in a chest register.
La cosa interessante è che questo Maestro sta dicendo che non è necessario alcun passaggio con la foto di Pavarotti sul tavolo!! che è il più grande teorizzatore del passaggio.....!! curioso....
That’s not a belcanto method,please!!!!! That tenore’ vocal street is out of way!!! And he is just pushing the breath downward. I mean that’s not natural. It’s hard to have a beautiful tenore voice. I don’t think that way is one for ‘MEZZA di VOCE’. We have to make a sense over how we can sing “ Sul Fiato” and use “Maschera”! This is belcanto way,which my maestro,Angelo Loforese,said to me billions of times!
Michael, still you dont know what sre you tslking. And you still pushing on your "activity". But listen, you are not s Caruso, we have tons of mosquitos. Why sre you so rude? Tonio right, smthng strage snd your tenor too tiny
@@Tenoretrimble That was great reply maestro! You put that Peter bloke in his place! Infact for the shame he must have felt, he never replied back..some people ought to shut up if they know bugger all about opera singing, instead of critisizing those who have a million times over their knoledge! Respect, and regards Sergio..
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Sadly, Joshua died of colon cancer 2 months after this video was made. He left behind a wife and 3 children and a broken-hearted voice teacher to remember him and his wonderful talent. It was a genuine, major loss to the world of singing. I know i will never forget him, He was a fantastic person and a fantastic tenor on his way to fame and fortune.Those of us who knew him and and heard him sing can never forget him as a person or his fabulous voice. Michael t
My goodness. I’m so sorry to hear that. What a loss - condolences to his wife, three children, and to you, his teacher. RIP.
This video has stuck with me ever since I saw it. Seeing someone like Joshua demonstrate what you can do with proper breathing and appoggio is both inspiring and relieving. It's not impossible after all!
when he hit the first high note l was like O.O omg
he's better than most famous tenors today
l guess mr Trimble is an amazing teacher!
@@rubbernecker2263 that is my dad and i can definitely tell you he built that voice he worked so hard for that voice
@@rubbernecker2263 ohh sorry for the mis understanding the tenor is my dad I you were saying he didnt build his own
voice
@@jynxyuhhhh He half did haha, he's implying that he is naturally talented so he didn't have to work hard for it. But if I had to guess he had to work his ass off to get there
@@jynxyuhhhh I am so sorry for your loss!
Your dad was magnifique voice and he is inspiring a lot a people 😁 god bless his soul and bless you🌈@@jynxyuhhhh
I am recently having to retool. I had been singing with tension and a lifted larynx developed from pushing brilliance. I had no idea how bad it was before starting with a new teacher 28 years after graduate school. At 52 it's never to late to start again. I have already improved my sound after watching your videos and listening to my new coach.
I'm 45. Been 25 years since my college years and voice lessons. I'm relearning the right way! How did your lessons go?
he's saying he's soft then hard. so is he saying he doesn't push on it . only when he needs power he push on it?
Excellent teaching and wonderful singing of the student. He sings so naturally and well connected!
Hi Michael
All the Tenors in Sweden inclouding me pushing diafr down and get tension in trouth!!! To avoid thats we raise chest
to open up !!
This is the way to do IT !! I have Seen all your videos the hole night and you are a genius !!and Im taking My respons
to this video back and I Will teach/Use your material for now on.
I Will Send you video before this and after IF you want but this is the right way.
The tenor in this video is brilliant.
Thank you so much!
Peter Lundgren in Stockholm
Did this with my voice teacher this week and it's such a good feeling.
Thank you, maestro. You have saved my voice.
You both are magnificent! BRAVO!
Thank you so much! Best Messa di voce Lesson!
This is excellent! Very easy to understand as it should be.
For me La messa di voice is light and its I'm fogging up a pair of glasses. Wow, that could be a great way to explain it to students and I just thought of that lol. My vocal instructor said I'm mixing when I had my first lesson with him. I got it now and it's consistent. I am incorporating it in singing. Two years it took me to be able to do it. I can't wait tell I'm as good as this guy. I think I'll go perform for money then. I learned to sing just for fun cause I wanted to sing all the Pop songs and now there just easy. Looks like I might make this a carrier.
Thank you Michael for continuing this method of diaphragmatic control to eliminate the need to modification vowels, cover, switch modes etc. to blend the resonances and maintain proper fold compression. Too many coaches have no idea about this method and how it frees the voice so easily and simply. I was taught this method 20 years ago and continue to teach it my students.
how? do you have someone else demonstrate it for you? at least learn how to sing a correct vowel first. Dumbass. You are so far behind this teacher and student it's not even funny. well it kind of is. this is some kind of weird vocal virtue signalling.
I agree, in that vowel modification is used by opera singers along with proper breath support (for that kind of high volume singing), so they are both required. And if you don't modify vowels in pop singing you will often sound like you are yelling and you can damage your vocal cords. The only other thing you can do, since you'd be using a mic, is to go soft/breathy as you sing higher notes and then "flip" into falsetto, which is quite common. In fact, a major problem, IMO, that perhaps a majority of pop vocalists have is that they don't know how to modify vowels!
@@MyristicMystic They modify vowels sometimes, but it's not as drastic as it can be in classical singing. If you're singing in Italian, then I believe it's much easier as the vowels lend themselves to modification. In pop singing in English, there are diphthongs and triphthongs as well to deal with. If you modify too much, there's a risk of sounding too classical when singing contemporary styles; in this case, keeping the vowels long and vertical doesn't lend itself well for the sounds needed in pop music (not all the time anyway). For instance, there's a lot of twang/high end used in pop music that you wouldn't hear in classical or opera because those sounds would be deemed too "spread", too "open", and just plain inappropriate for the desired sounds but it's done all the time in contemporary sounds because the desired sounds are different in these styles.
You're fantastic and reinforce a lot of my teachers core methods.
This is awesome!
Who’s the tenor? Is he out there singing? What a great instrument!
His name was Joshua Quesada. He died of colon cancer last year. We miss him terribly as a person and as a fabulous young tenor with a brilliant future in the opera world. His talent was without limitations and he was a wonderful student.. smart and very musical and a good-looking young star-type, too. Thanks for asking about him. Michael t
@@Tenoretrimble this certainly breaks my heart. What a loss to the Opera world and I’m sure to all who knew him.
@@Tenoretrimble Maestro Trimble, I'm so very sorry for your loss 😞 I can't comprehend why we seem to lose such stunning artists on this planet and yet seem to have an abundance of unsavoury characters.
May this fine performer rest in peace. Blessings and deepest sympathy to his family..
🙏
I've been taught to keep my abdomen in a fixed position (pushing down). Then I started to realize that I was basically blocking my airflow contracting my abdomen to not let my belly inwards. So I started to think my belly going inwards during exhalation but still progressively keeping a contracted abdomen to gradually manage my air flow. My voice started to free out and I can regulate my volume by letting more air flow to come up. Do you think I'm in the right direction ?
Thank you for sharing this great knowledge. Now I can understand more this technique,
hi michael, thanks for this video, you repeatedly say 'the diaphragm stays perfectly still' but this confused me because if it were perfectly still, no air would leave the lungs.. did you mean it moves extremely slowly? please correct me if im wrong.. and also, where is the voice power coming from in the high notes? lower back tension/pushing? diaphragm tension/pushing? or both?
Michael Trimble thank you for your response! I believe i have mastered breathing into my lower back, it took me six months to get it to a good level, and now i am capable of the ‘breath stop’ too.. but what i wanted to know is, when exhaling (particularly in high notes) there (i assume) must be some sort of increased exhalation pressure coming from somewhere.. because of the increase in intensity and volume.. correct me if im wrong, but if im not, where do i apply this increased pressure from? Another way to ask my question would be for me to say, at the start of this video, your student is asked to sing in falsetto, then gradually push to make the voice louder and bigger, what i want to know is, which exact muscle/s he is using to squeeze the sound out to increase the volume and intensity of his voice?
Michael Trimble thankyou very much i understand, i really appreciate you and your youtube channel
Michael Trimbl
this is my fave instigator. amazing for training!
I sure liked and learned a lot from this video, thank you.
hello Michael , I am what we called in France " Fort Tenor" in Italian : Dramatic Tenor , but i always struggled wih very high notes except sometimes when i was very relax and did high not by surprise reaching C+ and even D one time, and i understood that my problem is the fact i have a NO appogio at all when I start singing my diaphragm was completely inhibited and people thought i was even a bassbaryton, until a professional dramatic tenor laughed and told me I was Tenor which surprised me . then just by imitating this dramtic tenor i reach A but with no apogio and the wrong idea of "fermer les sons et les couvrir" instead of open throat ...you can imagine the fight specially if yo have a strong larynx you put your effort, "support " on it...then I heard the word open throat , that what i was feeling to do instinctively but people always toldme NO ... so I left and work alone but I haves still problem with appogio ....do you have any exercise to developp it ? Thank you in advance for your reply
Thx Michael, yes my problem is "the Lean of the breath against the diaphragm (the "appoggio")" yes i would like to take some lessons with you ...where are you based?? london New york?
before I saw your videos i watch Franco tennelli on you tube who says you have to use the caruso's method.I have seen your comment on john vickers it is the same for me ! and I start to understand aLittle bit of the lean but I loose power and presence when i go up ..so i found an escape to climb: sing as a light tenor in the very high ...then i can reach in vocalise even high D now but always with striction , when I start to sing i sung Rock n roll and i get the wrong habit before i discover Opera... I was always very good with falseto, very natural for me I coudl sing the aria of Carmen ..lol and i have power specially even on counter G or A and Bflat ..strange ...and now i can go as bass on D low but not with resonnance as Bass , like the russian tenor Klossowski, I think you know him. I have seen you video with the young tenor you trained , very nice an easy result obtain, if i could do that with my voice...i would be happy , just for amator purpose...to say i knew I could stand and HighC in teh same way as a Corelli or Tamagno or Caruso .if you are in UK it would be easier for me to come are you in the USA??? all teh professionnal tenor sy the same as you on interview Lean Lean ..the mystery of singing...thx for your reply ...My first name is Gino
2 questions:
1. Do you recommend tensing the lower abdominal muscles during singing?
2. Are there any famous modern tenors who use a fully supported technique without vowel modification?
@Madara Uchiha Aren't those opposite things? How can you exhale while pushing out the abdomen and tensing it? Conversely, how can you exhale while contracting the abdomen without tensing it?
It occured to me, correct me if I'm wrong, but the reason the term "covering" is only used in America is because of the vowels. In Romance languages the vowels are "pure". In America, the act of "covering" or "vowel modification" is simply the idea of making the non-pure or splatty American vowels into pure vowels. So the word bat has a splatty or wide, aah, sound which does not exist in the romance languages for example. Therefore it would be said that you have to "modify" the vowel. If you sing All vowels purely (as in the romance language vowels) you need not "cover".
Joshua Quesada had such a gorgeous voice.
Sir, what does it take to be your student and learn from you...🙏🙏🙏 I want to be your student Maestro🙏🙏
Many thanks. Just great!!!
Hi Michael , I oredered already your book yesterday and tej Caruso one . Gino
Great singing RIP
Is there a Trimble course on RUclips that starts at the basics and goes chronologically? I love the information, but it seems piece meal. This is the closest I've come to lesson #1 after searching. Looking for an online singing course
Dear Michael,
Isn't the diaphragm passive during singing/exhalation?
yeah inhale muscle, right?
This guy is SO handsome! Great voice too.
His name is Joshua Quesada.
@@ciociosan 😆
I feel that messa di voce on a C5 doesnt get the chest feeling i get for example in an A4 or G4 i mean its a lighter feeling...Is that common or am i doin something wrong here?
I think it depends on your vocal technique i.e., how your support, breath management and resonance are.
If you have managed to connect your voice i.e., sing within your zona di passaggio without flipping into falsetto, then you can work on your technique to make a C5 "chestier".
I love doing messa di voce on a B b4.
I sing this way and it is great support and it does prevent me from Pushing
Hello, I am a tenor working too on my vocal technique; I`d like to sing as effortless as him. I experienced this effortless singing before and its always a pleasurable, golden feeling of pure happiness; I`d like to have really full control over it though; it has a lot to do with hearing and also sensation of room and being completely calm, thats what I can tell from my experiences. What is the name of that great tenor? I`d be glad to listen to some of his performances if possible. tenor? I have a teacher who is a soprano but seems to have problems with her voice often and also recommends liptrills, and I`d like to explore together with her the real art of Bel Canto. We are from Germany, and right now I`m translating your video on a script so I can share your wonderful techniques also with German singers I know. Would be glad to hear from you, kindest greetings, Jerôme
"pleasurable, golden feeling of pure happiness" every time after a vocal lesson i feel reborn and i have this high that lasts for like 3 hours and i just go around telling people how singing is happiness and how when i concentrate fully and give my self to making the corect sound i just feel so good :D.
+Michael Trimble Hallo nochmal! Entschuldigen Sie bitte, dass ich nicht sofort zurückgeschrieben habe, irgendwie habe ich es vergessen, und die Seiten und Videos auf RUclips sind so verzweigt wie ein Dornenbusch.. Ich habe Ihr Buch gelesen und finde es sehr inspirierend, insbesondere die verschiedenen Ansichten der Sänger über die richtige Gesangstechnik (Einer meiner Lieblingssänger ist wohl Helge Roswänge, er hat einfach alles: Die fundierte Technik, den Charme und den Pathos.. Besonders gefallen mir seine Aufnahmen "In fernem Lande", "der Postillon von Lonjumeau" und "Ach so fromm" aus "Martha".) Ich habe übrigens für mich herausgefunden, dass ich mich doch eher im Baritone-Fach zuhause fühle. Das stimmliche Potenzial zum Tenor ist zwar da, aber charakterlich ist es wohl erstmal für mich wohl der Bariton, in dieser Lage habe ich am meisten Spaß am Singen. Meinen Stimmumfang werde ich einfach erst einmal allmählich wachsen lassen. Ich werde auch erst einmal hobbymäßig singen, meinen Respekt an Sie und alle, die beruflich singen. Es ist wirklich eine wunderbare Kunst. Vielleicht mache ich irgendwann auch ein paar Aufnahmen und stelle sie auf RUclips. Alles Gute und viele Grüße aus Deutschland,
Jerôme H
Thank you these are very helpful.
Hello Sir! Greatly enjoying these newfound videos. I am one of those young bass-baritones who pray at the altar of George London, and have always thought him the pinnacle of low voice vocal technique. Now recently I've heard some singers/teachers saying that George had a somewhat "manufactured" technique, which they blame for his unique tone (which I love) and wobble in the voice as he aged. I've heard claims that his voice was actually "muffled" so to speak, with a very low in the throat depressed larynx style of placement. I find this hard to believe, as few who sing Wotan can be described as "muffled". Any thoughts on the matter?
Oh that's a relief. Would hate to hear that everything I believed as a youth was a lie. I can continue my idolatry with a clean conscience! Lol.
Mr Trimble, what about the position of the shoulders?
How does one "bring in the voice" once making a falsetto tone?
Same question. I could only go from falsetto to stronger head voice. But then starting with head voice I could bring my voice. Just weird.
Its called falsetone. You are looking for the point where there voice is between head voice and falsetto. It needs to be partly more head from my experience. From that "core" you can make a messa di voce.
Thank you for the explanation. I made it. And is it only about practice to make the voice thicker and faster in transition?
@@ShoutingWooo No it is not. It is about supporting the voice enough. By giving more support of air flow you will do a crescendo. But never push the sound to the front, always to the back as it is called "inhaling the voice". For that you need to have a good teacher.
i wanna see my students in my choir can dio all these things, the signer in the video is well trained already,
Haha good luck with that
Amazing student and amazing teacher. Reading your book hast also confirmed the later. I do wonder though about the breathing of the student: In your book you talk about the inward movement of the abdomen during inhalation in order to maximize the expansion in the lower back and therefore the lowering of the diaphragm. While his utilization of the breath is a sight to behold (seriously, his appoggio his world-class in my opinion), I am however able to detect an albeit very minor expansion of the solar plexus area during his inhalation. Shouldn't his his whole abdominal region move inward (Caruso, Rosvaenge) or at the least be completely still (Pavarotti, Tucker) during inhalation? This question is of personal interest to me as well, as the student's method of inhalation is very similar to what I was taught and have been using quite successfully. The method being to let the expansion of the epigastrum happen, while at the same time limiting aforementioned expansion by focusing on maximizing the expansion of the lower ribs.
Or maybe do I have it all wrong.... maybe only the lower abdominals should move inward during inhalation, which would fit in with the method of inhalation demonstrated by your student. I would sincerely appreciate some clarification on that matter, Mr Trimble. Thank you!
Woao this all sounds like very hard work! Stupid me i thought singing is a natural thing! How can i sing naturally if i have to think about all those things at the same time..it looks like a friggin abdominal workout at the gym, instead of doing a pleasure thing, i.e. "singing"
Sergio Dario operatic singing is exhausting, once the basics are learned you gradually add more skill through lessons like Michael is talking about. In my time singing with him breath is always the foundation, once the proper breathing technique is established then a lot falls into place. Though it is still a work out, but like a work out you get stronger over time. Singing for me came very naturally but when I met Michael he built on my natural ability and literally after my first lesson with him I was singing clearer, stringer in my breath and an insane amount of knowledge on what it takes to pursue a professional opera career. If it was easy, everyone would do it. All the best -Josh (the guy in the video)
@@bubbaq hey Josh! May I ask when Mr. Trimble mentions the down bowing action, are we to imagine our actual breath to be sent down in the staccato point in that way or is it something else?
Aaron Parreno the down bow is in in reference to how you release and control the breath. As in a violin when you are making long smoothe controlled strokes there shouldn’t be any jerking movements, same as in the diaphragm as you sustain the note. Whether it’s a high note or not it’s all clean and controlled as the breath releases.
@@bubbaq Thanks for the reply! I'm a hella skinny dude and I'm finding it hard to breathe and expand phaha. If you have the time to answer another question if you don't mind, is this "airbox" of breath created only in the lower back? Or does it START from the lower back and we feel the expansion go up to our chest and that's where the staccato point can be leaned on? I'm confused about sending the air up into the chest :/
Do we have to be so big like this to sing in an Opera?
@@Tenoretrimble Thank you for your explanation :D
Très instructif les cours de monsieur Michael Trimble 👍👍, mais dommage, étant français et ne parlant pas hélas l'anglais, j'aurais apprécié une traduction sous-titrée en français bien sûr ?, merci tout de même à ce professeur de chant pour de ses cours si intéressants !!!
Micheal , could u give me some exaples of true basses to listen to that are not artifiacial like u say ?
Could you give any good examples of true dramatic baritones that aren't artificial?
Hi Maestro Michael. I have been reading your book and watching your videos and am learning a great deal. When Joshua (gorgeous voice!) goes from the lower to the higher note, the diaphragm or lean remains on the lower chest...is there any action anywhere in the body? Should you feel any expansion in the lower back for example or anything else?
Joshua, bro! Golden voice! Got music page?
He had a youtube chanel with some songs.
i can try to find out what the name is!
I found his chanel! But sadly it doesnt have any of the videos of him sining anymore.
@@jynxyuhhhh any update on the channel? The awesome teacher should have some info on the students if possible 👍
@D'Andre Franklin unfortunately the student died of colon cancer a couple of years ago
@@GleamingRake oh no! May he rip!
so i have this problem where i start in head like this guy did but when i try to lean in to a more chesty sound like him i get like a tiny break its feels like im closing a different part of the vocal chords for a more chesty sound and cant make it unnoticeable do you have any advice or a video i should watch ?
im binging your videos today hopefully ill find some answers for my singing issues
hope you'd do another video on messa di voce thats more in depth
Hermosa Voz de tenor
The name of the tenor?
Joshua Quesada
I do see his abdomen getting inside as you preconised for the caruso method..why? is he breathing inside
Cute bear and he also sings! That's so hot :p
xD hahaha that was my thought too.
I have been singing for 40 years. Had to stop because my technique got too bad. I wouldn’t be able to do this in one breath. Very painful to lose my first love of singing
😟
Dear Michael, this approach seems to build an choir-wise narrow voice with very even, but tiny emission. I think this will happen with any type of tenor voice, even a dramatic tenor this way will sound like your student. The "mass" of the vocal folds closure is small, so the acuti are bright but they lack richness. Also I noticed that you are a little bit cunning when you talk about covering. Your student from the very beginning, with the onset, produce a vowel that is a mixture of A, O and OO (like Russian U) in a chest register.
Unfortunately, I did not understand this lesson. Can I send you text?
@@Tenoretrimble plz give me a private number or mail or ....
shimmery!
La cosa interessante è che questo Maestro sta dicendo che non è necessario alcun passaggio con la foto di Pavarotti sul tavolo!! che è il più grande teorizzatore del passaggio.....!! curioso....
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I can't sing :c
good video
Anyone can sing you got this!!!
Dep
damn he a thicc boi
Yea he was very built! Incredibly strong too lol!
That’s not a belcanto method,please!!!!!
That tenore’ vocal street is out of way!!!
And he is just pushing the breath downward. I mean that’s not natural. It’s hard to have a beautiful tenore voice.
I don’t think that way is one for ‘MEZZA di VOCE’.
We have to make a sense over how we can sing “ Sul Fiato” and use “Maschera”!
This is belcanto way,which my maestro,Angelo Loforese,said to me billions of times!
5 months later and no videos? Hmmm.
I would also love to see your videos, you sound like someone who has a lot of experience singing over orchestras!
Michael, still you dont know what sre you tslking. And you still pushing on your "activity". But listen, you are not s Caruso, we have tons of mosquitos. Why sre you so rude? Tonio right, smthng strage snd your tenor too tiny
This is nonsens!!!!
Peter Lundgren
Please, Peter, if you're going to make a negative statement, the least you can do is make a valid explanation. Otherwise, you look like an idiot.
@@Tenoretrimble
That was great reply maestro! You put that Peter bloke in his place! Infact for the shame he must have felt, he never replied back..some people ought to shut up if they know bugger all about opera singing, instead of critisizing those who have a million times over their knoledge! Respect, and regards Sergio..
@@ciociosan like you, fanatics, always loving barking. But have no sny idea on music
For a tenor doing messa di voce on middle C is garbage. Even a baritone does it on F or G above middle C. Study with this guy at your own risk