Mr. Trimble has been talking non-stop for 40 minutes, singing, and singing, and doing a lot of high notes and his voice sounds exactly the same from beginning to end, clear and natural. And he's also around 80 years old as he mentioned in the video. Definitely a perfect example of true vocal technique, thank you, Mr. Trimble!
There are a lot of singing dilettantes on YT recommending all manner of witchcraft. This gentleman is not one of them. I would say most professional operatic singers today could use a number of master classes with Mr. Trimble.
I wouldn’t be able to count the number of times you have helped me get out of a vocal mess, it seems as though most of singing is about NOT doing something rather than doing something. Eternally grateful to you Mr Michael Trimble.
This is THE best online video ever, not only for high notes but for full technique for tenors Maestro! What a legacy you are leaving for all of us and future generations!! I hope to take some in-person lessons from you soon. THANK YOU!! 🌱🙏
Ditto. I'm 61. It's breath that's the biggest problem. These videos help tremendously. It's accepting that I can't be what I was 20 years. Getting accustomed to a whole new sound.
Thank you for demonstrating that no matter what your age ( I'm older too) you can sing with the right technique. So many times ageism happens. Your voice is amazing!! Everything you are saying is correct, Sing as you speak, so true.
My first vocal workshop they taught something very similar find your best vowel shape with your mouth then modify all the vowels around this shape. Great stuff sir. I’m 52 and started singing 9 months ago and am enjoying the journey. And loving this video
absolute , wonderful vocal wisdom:::: relaxation and support!!! Fantastic advice ,,,,,, too much doing in the throat forces the voice , the true technique is to adjust the throat to less variations, more stability ,,, with that, the instrument finds it's true nature which will always going to be more beautiful than the forceful fabrications ,,,,,,,,,,, people can invent voices, but they don't last and are ugly , today we have many voices that sound huge in the middle but become inaudible in the top, or they are screaming in the top and the middle with zero resonance ,,,,, this method of Mr. Trimble is the only way to preserve the voice in it's natural beauty ,,,,,,, it's not easy to do less in the throat but one must strive for it ,,,, it's a training of patience ,,,,,, Thank you Mr. Trimble ,,,,,, you are wonderful .....
George Ayoub Make sure you always find a good teacher that you work well with!! Even those who are singing professionally go back to their teachers because we THINK we are doing things correct when in fact we are always creating habits we don’t know unless someone is giving feedback!
My favorite part of this video is when Maestro recalls his conversation with George London, and how he scoffed a the idea of modifying his throat every time he crossed his passaggio. "Be reasonable folks!" Hahahaha. Awesome stuff.
London broke all the rules. How he continued to sing with a paralyzed cord, while taking so much weight to the top of the range is incredible. There is a brutality to his sound that's very effective, but ai wouldn't think sustainable. He sustained it until it.was impossible to do so . Great man, but ruin to any one.who tries to imitate his technique
Mr Trimble, There is no greater joy than singing...and it has been reinvigorating to find you on RUclips. I have been in search of guidance for so long because I will never give up my heart for opera. It is the most beautiful music...period. I recently read a bit of your interview and saw you were also in the army. As silly as it may seem I found it a wonderful connection. I started to pursue opera after the army. I have found it incredibly hard to find my voice after a few years of not being able to find the focus that my teachers talked about. It hurt...it felt wrong and I lost my voice. I always felt like my voice was lower in my body....but was told to shove it high...if there is any guidance you would have time to provide I would be eternally grateful. Thank you so much sir....and Hooah
Ok so now I understand why I used to feel as though I was going to die when singing high because I wasnt letting the bub into the head but keeping it trapped in the nasal area, and I understand that I need to use breath/lean commensurate with resistance in the folds to achieve the high notes (and that the degree of resistance varies by individual). Both are breakthrough ideas.
Hello Maestro, Thank you, it only makes sense From my own singing experience, covering is when the opening of the mouth is not dramatically changed from, let's say, c4 to g4. In contrast, uncovered sound is when the mouth is open and spread more or to it's maximum, for example: a wide opened mouth on a G4 (of a tenor voice) is just going to belt the note as we hear in musical theatre. In other words, doing nothing is more (tone), doing something is less (tone), paradoxically
Dear Mr.Trimble, correct me if I'm wrong, but I suppose your command "no action in the throat" doesn't mean loose throat? One could missinterpret it with the "No effort" school, which was established by some of the Vocal Pedagogues of the past like Henry Holbrook Curtis or David Alva Clippinger, who strongly rejected Garcia's "Coup de la glotte", which you nicely demonstrate in this video. It is rather "local effort", which means that all unnecesary muscles should be relaxed, whereas the other contributing the actions of the vocal chord should be engaged quite vigorously in order to bring and keep the vocal chords together avoiding the air leaking, especially as the scale goes upwards and the subglottal pressure raises. Thanks for publishing your videos, it is such delight to see with such amount of knowledge and passion you are sharing your views on this unfortunately slowly dissapearing art of Belcanto.
Maestro also mentions Pavorotti in reference to doing nothing with the throat through the passaggio, which is fascinating. Pavorotti often talks about covering those passaggio tones, as if to say he IS doing something, but Maestro's perspective is that Pavorotti was the master of maintaining that nothingness, which ends up sounding covered. As a result, though, I think a lot of singers have adopted an action of "covering" when Pavorotti wasn't really doing the covering as much as he was maintaining an open, relaxed, throat.
I sing on the exhalation. It’s been soooo hard to sing before discovering this. Teachers shouldn’t always presume that ALL SINGERS ARE LYRIC and that the same technique works for everyone because it’s NOT
Hi Michael, Thanks for the new videos. They are such a source for new knowledge and opportunity to improve. Practicing the Breath Stop functions well and phrases tend to become longer, which is good in my Barbershop singing. Two questions though: 1. When not leaking due to the Breath Stop - where does the air go? 2. How to prevent vibrato which is not wanted in Barbershop apart from a very small vibrato at the end of the last word of a phrase, indicating a phrase lift. Thank you, Best, Dieter Feichtinger
Hi Michael, Thanks for your answer. If I understand you right the small amount of air needed for singing this way is still sipping out through the vocal folds, but not to the extent that the tissue moves. Eventually one runs out of breath and is forced to take in new air. Is some air evacuated through the open nose? Your answer to my second question is difficult to apply. Singing without expression is almost not possible. Old Barbershop was very technical in order to get the four part harmony right, so there was not so much room for emotion and feeling. However, modern Barbershop is supposed to be very emotional. Therefore a small amount of vibrato is accepted. But still, the overall requirement is to sing straight without vibrato. Thanks for your help, Dieter
When I try this approach where I use the deep breath/pressure it sounds deep and squeezed as if I'm straining. My larynx does not move but it is more of like I'd pushing/straining or same feeling as grunting in deep voice. The voice does not thin and I can only get to E4/F4 but it sounds like a grunt and with noise (not clear sound). People say that it sounds more as if I'm constipated. I'm not sure if this is the way it supposed to be, When I raise my larynx and thin vocal cords, I expel a lot if air and it sounds softer and clean, but lot if air comes out. My larynx goes up. I go up to F4# and then I really get thin but it sounds like mickey mouse voice and goes up to A4/B4. When I do lip trills, I can get to B4/C5 if I push lots of air. If I tried lip thrills in this deep squeezed sound, I can't even make the lips vibrate. Strange huh? I also can get to E5-A5 in whistle when I squeeze the cords, then if I try to let go a little bit I get this dark squeezed sound that I described above. I also think that when I do this full density sound, it maybe false vocal cords closing. Am I a Bass/Baritone then?
You seem to push in a wrong way, read Anthony Frissel I you can ("the art of singing on the breath flow"). You can't know what your voice type is until you find a right way of producing sounds. Keep courage 😊
It's possible to pop a vocal chord? That's extremely scary! Not moving the jaw was so hard at first. But eventually I got the hang of it, thank you Mr. Trimble :) My throat doesn't hurt and my voice doesn't get coarse anymore. I still have to concentrate a good bit though
Thanks you so much !!! In life i want to know why i do things ...mabe its bad or good but a lot of problemes with teacher who dont have a clear response and told you -do what i said !! -Your the only one i knew who give me a satisfy answer ....can you belive ? Thank you
I am 66 years old and am trying to maintain a tenor range. I have watched a number of your uploads and feel that you are the finest instruction on YT. I not sure if you did a video on what is known as the passagio. I seem to have 2 breaks. One around D where I try to blend the chest and head voice, and one around A where I go into my head completely. My voice seems to feel quite tired after a while and will not go higher without cracking. Am I thinking of this all wrong or can you help with these setbacks?
How do you strengthen high notes without pushing more air out? Whenever i sing high my voice goes weak and just sounds like im talking really high, when singers like yourself do it its like all this volume comes out of nowhere lol.. where is the volume?? Ive finally learned not to push and can confidently hit the notes.. but theyre the same volume as my low-mid range notes.. someone help me out please
HI! I am so grateful to You for sharing your wisdom, this is pure gold. I've been watching all your videos and they helped me so much to get trough the last year of bachelors, I'm fascinated and fanatic about technique, and everything you tell connects amazingly. But I have only one question, about breathing in. I have observed that many (and some of them good) tenors, when they breathe in,their belly drops a little and goes out and to the sides. And when they engage the sound,only then the belly automatically goes more inwards and stretches upwardsand as the facial posture gues up as you showed. I know that belly never should go out when singing, but only when breathing in, is it alright to relax your lower abdominals and let them drop before starting the sound, or they should be pulled in already on breathing in? I hope you understand my question. The thing is, when I pull my belly in while breathing, it sometimes blocks and my breath stays too high.
Thank You for answer! Yes, this is the same that I've been studying and found out so far, and this approves all my questions. I will continue the path You described. The idea to slowly relax abdomen while singing is great, didn't get this before. This vocal style is without doubt the best that there is and I'm slowly adapting to it after a bad school of pushing down the jaw and overlocking my body while breathing in, so sorry if my question sounded amusing, I'm actually reading Lehmans book and as she said, that nowadays conservatories are like factories that produce singers too fast, and most of them don't understand what they are doing, and when a singer with no school has lost the voice, he/she becomes a teacher (because she can't sing) and gives these errors to the next students. I will definitely order Yours, I have great admiration for You and singers that You sung with, I mostly listen to recordings that are not younger than 1980-s, almost all the singers you mentioned, because now there isn't much to listen to that is so ringing and beautiful. You carry this great tradition with You and that's very amazing, thank You for sharing this with me. I also wanted to mention the way how you showed the jaw should move, this is so right, I heard this excercise in a masterclass from a student of Elizabeth Schwarzkopf,she sung a lot with B.Gigli and he showed her the excersises with the same pattern that you do with your jaw (by letting only the tongue move and letting diaphragm do the work). Your book is the next in my read list. :) All the best wishes for You and looking forward to new videos! E.
My question regarding high notes is how to approach notes past Bb (B flat). I can maintain the correct space until high B. At that point, I either have to push, which causes the larynx to shoot up, creating a smashed/shrill sound that is unsustainable and unreliable, or back off on the sound and use extrinsic muscles to hold the larynx down in order to create enough space for the note to be open and resonant. I am a 23 year old lyric tenor in my sixth month of training, so the issue could simply be a lack of experience, or a weak inhalation, but I do believe that many tenors struggle with this transition point even up through the graduate level. If you could give some tips on the approach to extreme high notes (B,C,C#,D) I would be extremely grateful. Your videos have helped me immensely while I have been studying abroad away from my coach.
Thank you very much for all these helpful lectures.You are great!Please, I would like to learn, who you think is a very good mezzo soprano.Thank you in advance.
Thank you for this great video, very enlightening. Was just wondering about something. You mentioned in another video, if I understod you right, that you use the lower back ribs and the lower back to squeeze the air towards the sternum arc as you sing. Is this something you do on highnotes or is it purely a mental thing desiding to sing the highnotes?
Thank you very much for clarifying Michael. Facinating experience trying to learn this. If you have the time I wondered if I could get your opinion on the use of the abdomen. I am not holding the lower back and chest activly out/open after inhalation but it feels easyer to maintain the openness and pressure against the sternum if I pull in the lower abdomen and keep it there during singing, not letting the lower abdomen out during singing. I liked the way it seems to compleatly disable the abdomen in singing if I "slap" it to the spine and keep it there. Was wondering if this a viable way to sing in your opinion? I belive you mentioned a soprano who did this if I understood you right.
Mr. Trimble, how do I build a base to my middle notes such as A3, B3, C4, C# and D4 because I can never get these notes to have any weight. My A3 has weight but as I ascend I hear my voice back off and I would really love to get strength into these middle notes because I know that’s the only way I can achieve higher notes could you please give me advice?
If you're a woman singing in chest voice as high as A3, you must exercise your head voice lower and lower and bring it back to at least D3 with enough power to be used for any mezzo piano/mezzo forte intensity. You must be patient, because you need to make new muscles, but also to find the true head resonances (see the video for finding the true mask by Michael Trimble). I have taught a soprano singing pop music to get back her (finally huge!) head voice in these notes after damaging her voice singing too high and with a bad "technique" in chest voice. At first the head voice was like nothing, with a lot of air, but it get back in few months. Use a lot the ee vowel to exercise the voice, it helps to eliminate the air in the voice and to find the resonances.
Mr Trimble congratulations on your vocal technique and thank you for your valuable advice. I wanted to ask you what you think about the soprano Magda Olivero and her technique. Thanks very much
Hi dear Mr. Trimble, I love your videos and I saw all of them many times, and I thank you very much for share your belcanto knowledge and your experience. I'm a 19 years old Italian lyric tenor and I really love singing (I apologize for my English). I'm practicing whit some of your exercises but I have a doubt about the true mask and the difference between the exercises to achieve it. Where can I write my full question? There is an email on your site? There is another way to send you a question instead of write it in this youtube comments? Thanks you very much, Pasquale Fanelli.
Yes, Queen. Tilting the larynx is a terrible way to lose at least 1/2 of your sound. Tilting the larynx makes high notes thin out and sound much smaller and more insignificant and reveals the ignorance of any singer who tries to employ such a throaty, manipulated approach to singing. I've been around singers for over 60 years (I'm 83) and i have never heard a singer who tilted the larynx who has had a career! The larynx-tilters all become voice teachers who could not make it in the performance world. The upper range becomes a thin impotent sound suddenly when the tilt occurs, compared to the middle voice with the larynx breathed downward into a relaxed but low position. The old rule used to be "NOTHING MOVES UNLESS THE BREATHING MOVES IT". Never lower the larynx with muscles but only by breathing deeply into the lower back. NEVER TILT THE LARYNX if you want your voice to sound like one voice and not like two or more voices. Some people have a naturally big voice in the middle range, but the upper range, if the larynx is tilted, sounds much smaller and thinner as is not suitable for any repertoire that requires a full sound on the upper notes. This is a sure indication that the singer does not understand the function of the larynx at all and is literally making the voice smaller and ineffective. And the question remains, why tilt the larynx in the first place? it is an artificial approach to what should be accomplished naturally by deep inhalations into the lower back and mainstained by using the "lean of the breath against the diaphrargm" to keep the throat totally free. I hope this answers your question. All the best to you, Michael t
I have question about the difference between an opera technique and microphone singing in modern music. I have heard many modern teachers that are teaching microphone singing say that the darkening of vowels in opera singing are the main difference between the two. I disagree with that and would instead say that opera singing requires a wider pharynx and deeper larynx and as long as the singer can uphold those components the darkening of vowels will only mudd the sound projection.
Thank you. High notes after G4, I think i have no action in throat its free but vocal cords start to shake little, or wobble. Is it matter or time for vocal cords to strengthen and get used to high chest notes or am I doing something wrong? I am all time checking breath support and tensions in throat, and I have just started to hit high notes after G4. Maybe vocal cords need to strengthen?
Hello! I want to ask a question about ''stage fright''. For a young and begginer opera singer it can be a problem sometimes to deal with such a big audience. I was wondering how to deal with it? It affects my breathing and I often lose control. I was asking some teachers and they said it will pass soon while I'll get used to perform on the stage more... but still I don't want to wait and do nothing. Do you have some solution to this problem? Greetings.
@@Tenoretrimble Thnak you very much for that sir! Can i ask one more question please? Is your teachings suitable for Bass/Baritones please? I am some form of a light Baritone. My break area is Eflat to the right of middle C, and that E natural is my miss or hit ( usually miss) note.Thanks and greetings from Ireland,Colin.
@@Tenoretrimble Thanks Michael so much for all that. Im always amazed at how down to earth and caring you are, despite your encyclopedic knowledge& experience! Best wishes to you,Colin.
Hey Michael! Thanks for all the recent videos, I have blazed through all of them as soon as I could! I have one question for you. I have always wondered about keeping a neutral larynx while singing the more extreme 5th octave notes. Not matter how much I try, I always find myself slowly sinching up my larynx, making my voice quite small and piercing. Is there a point in which your larynx must raise in order to reach those more extreme notes? Or is it possible for me to be able to fill out those higher notes? I'm currently watching your video so you may answer this later on so forgive me if this question is redundant. Thank you!
Hi Michael, I'm curious about what singers should think in terms of the direction of the sound. Personally, my teacher says think "always forward and start any note in very high position". Thinking on these two thoughts sometimes make my tongue very stiff and the sound don't travel..What would be then the good thought when we sing to prevent that things that happens when we think to send the sound forward? Thank you so much!!!!!
@@Tenoretrimblethank you for your quick, accurate and interesting response. So, if you are saying that we are like bells that stay in place and vibrate, that place has to be the soft palate. But as I understand, the voice travels because we make use of the mask, right? And if it stays in the place (soft palate) how is going to travel? I feel like there are four directions. One forward, one backward, one up and one down. I'm in Barcelona studying a voice bachelor. If I get an image would be that my voice vibrates starting in my soft palate and then expands to the pharynx, mask in 360º right? But is always starting at that point. Thank you so much and I would be delighted if we could continue that conversation in here :)
HI MR.TIMBLE ! Can you explain why is demanding so much energy to sing ? The day after its not vocal fatigue but body fatigue ....at the end we just produce air flow ? You can right your response in english
Martin portier I hope that Maestro replies, but two things come to mind for me. The act of singing quite literally results in a lower consumption of oxygen during the act of vocalization. Though it isn't a huge amount of time, we tend to build up a bit of waste material in the blood, particularly if the singing is very efficient. The 2nd issue is that the positive pressure (subglottic mostly) requires quite a lot of muscle engagement throughout the body to maintain an engaged tone and even/consistency of breath. All of those muscles use stored energy and also produce cellular waste products during the process. The vocal mechanism shouldn't be fatigued, but we've done quite a lot of real "work" throughout the rest of the body.
Hi Mr. Trimble, love your videos. I’m a little confused with the breathing , when you say push the abdomen forward is that soft or stiff. And do you push with your back ribs to move the breath so that you can hit the high notes?
Thank you Mr. Trimble. I’m sorry I dint mean to use the word push I meant lean on the breath. Thank You for answering me back. Your videos are helping me to understand how the breath support really works. I really appreciate you doing these videos. Thank You
I wonder about the difference between “chewing” and opening the mouth before the TMJ’s lock out for the high notes, at least for low voices. Ghiaurov really opened his mouth. The only bass I really can remember who did the complete polar opposite was Boris Shtokolov, but his sound seems a little too held back for my tastes.
Hi M. Trimble ! I totaly agree with you .....i’ts a thing i don’t do but see good singner do it ex. FLOREZ So i thought i mist some thing ! P.s. You can write me your response in english it’s ok Question ..when we stop for few days no signing no vocalise ..they say the opening of the throat close ! ? Thanks
Question . I take a chane ...do remember if you have a topic video about glotique under pressure ? I have all your videos but i don’t rememberd ! If you dont its ok ! Thank you
Hello Sir, If the larynx is not moving up, how does a young lyric-leggiero tenor prevent sending too much air upward in high notes (aka Pushing) and consequently tiring the voice ? When singing the notes from F to -> high C, must the larynx GO lower or JUST not move ? How do we prevent it to go into a SOB quality (less ovetones, less squillo) ? If the larynx is maintained into a low position, is'nt the voice superficialy/unnecessarily heavy ? And finally, what do you think about the Estill Model wich advocates the idea that the larynx can move up on the higher notes even for the Opera quality, as they call it ? Excuse me for any english mistakes, it's not my mothertongue. Thank you in advance, Jules
Thank you for your answer. As a young singer, I'm obviously trying everything I can to sing effectively without straining my voice. I haven't had the chance to sing over a big orchestra yet but as soon as that time comes, I'm sure that I'll learn some more things about my voice and how to work with it.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
Mr. Trimble has been talking non-stop for 40 minutes, singing, and singing, and doing a lot of high notes and his voice sounds exactly the same from beginning to end, clear and natural. And he's also around 80 years old as he mentioned in the video. Definitely a perfect example of true vocal technique, thank you, Mr. Trimble!
This channel should be called How are you today? Best teacher !
There are a lot of singing dilettantes on YT recommending all manner of witchcraft. This gentleman is not one of them. I would say most professional operatic singers today could use a number of master classes with Mr. Trimble.
Macho Voce I completely agree.
I wouldn’t be able to count the number of times you have helped me get out of a vocal mess, it seems as though most of singing is about NOT doing something rather than doing something. Eternally grateful to you Mr Michael Trimble.
I was practicing for 6 years singing and just 1 week of watching videos from this man helped me improve like 40% of those 6 years
The first 5 minutes are delightful. I love your sense of humour.
relaxed tongue, clear vowels, normal opening of the jaw, lower back breathing
Thank you maestro!
This is THE best online video ever, not only for high notes but for full technique for tenors Maestro! What a legacy you are leaving for all of us and future generations!! I hope to take some in-person lessons from you soon. THANK YOU!! 🌱🙏
What a revelation! Saved my singing life! " It is easy to sing well and difficult to sing badly" (Dame Nellie Melba)
You are an excellent pedagogue. Thank you for putting out these videos, to a young singer like me this is like water in a desert.
This video changed 15 years of vocal training for me.
Mind BLOWN
Thank you Michael. i'm 58 now and am resurrecting my singing. You are inspiring. It is some of the best vocal advice I ever heard.
Ditto. I'm 61. It's breath that's the biggest problem. These videos help tremendously. It's accepting that I can't be what I was 20 years. Getting accustomed to a whole new sound.
Your advice has really helped me find the voice I knew was there but didn't know how to bring it out.😊
Thank you Maestro
I think I’ve written many comments, but I can’t thank you enough
Wishing you the best!
Sir you have no idea how happy I am now that I found your channel!!!😍🥰😍
Finally! Best teaching I’ve ever come across
What a man! You are just wonderful, Mr.Trimble!
every time i doubt on technical problem i watch one of your videos.thanks to you i come back to basics .. no action on the throat..thanks maestro
Thank you for demonstrating that no matter what your age ( I'm older too) you can sing with the right technique. So many times ageism happens. Your voice is amazing!! Everything you are saying is correct, Sing as you speak, so true.
Dear Mr. Trimble
How can I express of my feelings on your great teaching! Thank you so~~much!
Fantastic Michael you are a REAL gem 💎
Dear Mr.Trimble!! You are amazing! Thank you so so much!!!
My first vocal workshop they taught something very similar find your best vowel shape with your mouth then modify all the vowels around this shape. Great stuff sir. I’m 52 and started singing 9 months ago and am enjoying the journey. And loving this video
absolute , wonderful vocal wisdom:::: relaxation and support!!! Fantastic advice ,,,,,, too much doing in the throat forces the voice , the true technique is to adjust the throat to less variations, more stability ,,, with that, the instrument finds it's true nature which will always going to be more beautiful than the forceful fabrications ,,,,,,,,,,, people can invent voices, but they don't last and are ugly , today we have many voices that sound huge in the middle but become inaudible in the top, or they are screaming in the top and the middle with zero resonance ,,,,, this method of Mr. Trimble is the only way to preserve the voice in it's natural beauty ,,,,,,, it's not easy to do less in the throat but one must strive for it ,,,, it's a training of patience ,,,,,, Thank you Mr. Trimble ,,,,,, you are wonderful .....
Very, VERY good lecture. Pure gold.
Lol.. 0:20 I bet his doctor has a heart attack when he does that!!! 🤣
Very goog lessons Mr Trimble. Thank's from Valencia, España.
THANK YOU!!!
I am only 17 YO, self taught...
I learnt A LOT here!!
George Ayoub Make sure you always find a good teacher that you work well with!! Even those who are singing professionally go back to their teachers because we THINK we are doing things correct when in fact we are always creating habits we don’t know unless someone is giving feedback!
Your videos are incredibly useful! Thank you
Un gran cantante, músico y maestro. Un saludo desde Madrid.
My favorite part of this video is when Maestro recalls his conversation with George London, and how he scoffed a the idea of modifying his throat every time he crossed his passaggio. "Be reasonable folks!" Hahahaha. Awesome stuff.
London broke all the rules. How he continued to sing with a paralyzed cord, while taking so much weight to the top of the range is incredible. There is a brutality to his sound that's very effective, but ai wouldn't think sustainable. He sustained it until it.was impossible to do so . Great man, but ruin to any one.who tries to imitate his technique
Mr Trimble,
There is no greater joy than singing...and it has been reinvigorating to find you on RUclips. I have been in search of guidance for so long because I will never give up my heart for opera. It is the most beautiful music...period.
I recently read a bit of your interview and saw you were also in the army. As silly as it may seem I found it a wonderful connection. I started to pursue opera after the army. I have found it incredibly hard to find my voice after a few years of not being able to find the focus that my teachers talked about. It hurt...it felt wrong and I lost my voice. I always felt like my voice was lower in my body....but was told to shove it high...if there is any guidance you would have time to provide I would be eternally grateful.
Thank you so much sir....and Hooah
you are certainly 80 years YOUNG Mr. Trimble
Ok so now I understand why I used to feel as though I was going to die when singing high because I wasnt letting the bub into the head but keeping it trapped in the nasal area, and I understand that I need to use breath/lean commensurate with resistance in the folds to achieve the high notes (and that the degree of resistance varies by individual). Both are breakthrough ideas.
Man, I wish you were in NY.
This old guy is a genius!
Dear Trimble. Thank For Your video.
Absolute legend❤ thanks for this
Michael trimble is just great!
Thank you maestro Tremble
Gorgeous lesson. Thanks.
Hello Maestro,
Thank you, it only makes sense
From my own singing experience, covering is when the opening of the mouth is not dramatically changed from, let's say, c4 to g4. In contrast, uncovered sound is when the mouth is open and spread more or to it's maximum, for example: a wide opened mouth on a G4 (of a tenor voice) is just going to belt the note as we hear in musical theatre.
In other words, doing nothing is more (tone), doing something is less (tone), paradoxically
I love your teaching technique!
11:02 that's a perfect authentic Chinese "爸爸" (means father in English) diction
Have to say that that its so great to see some one to speak words of wisdom :)
Dear Mr.Trimble, correct me if I'm wrong, but I suppose your command "no action in the throat" doesn't mean loose throat? One could missinterpret it with the "No effort" school, which was established by some of the Vocal Pedagogues of the past like Henry Holbrook Curtis or David Alva Clippinger, who strongly rejected Garcia's "Coup de la glotte", which you nicely demonstrate in this video. It is rather "local effort", which means that all unnecesary muscles should be relaxed, whereas the other contributing the actions of the vocal chord should be engaged quite vigorously in order to bring and keep the vocal chords together avoiding the air leaking, especially as the scale goes upwards and the subglottal pressure raises.
Thanks for publishing your videos, it is such delight to see with such amount of knowledge and passion you are sharing your views on this unfortunately slowly dissapearing art of Belcanto.
best voice teacher on youtube. Mr Trimble. Thank you so much for teaching us.
You are fantastic
Maestro also mentions Pavorotti in reference to doing nothing with the throat through the passaggio, which is fascinating. Pavorotti often talks about covering those passaggio tones, as if to say he IS doing something, but Maestro's perspective is that Pavorotti was the master of maintaining that nothingness, which ends up sounding covered.
As a result, though, I think a lot of singers have adopted an action of "covering" when Pavorotti wasn't really doing the covering as much as he was maintaining an open, relaxed, throat.
Fabulously helpful. Thank you so much.
This video is great, I love your book also. I want to ask you how the great singers sing pianissimi in high notes?
@@Tenoretrimble thank you!
I sing on the exhalation. It’s been soooo hard to sing before discovering this.
Teachers shouldn’t always presume that ALL SINGERS ARE LYRIC and that the same technique works for everyone because it’s NOT
Hi Michael, Thanks for the new videos. They are such a source for new knowledge and opportunity to improve. Practicing the Breath Stop functions well and phrases tend to become longer, which is good in my Barbershop singing. Two questions though:
1. When not leaking due to the Breath Stop - where does the air go?
2. How to prevent vibrato which is not wanted in Barbershop apart from a very small vibrato at the end of the last word of a phrase, indicating a phrase lift.
Thank you,
Best,
Dieter Feichtinger
Hi Michael,
Thanks for your answer. If I understand you right the small amount of air needed for singing this way is still sipping out through the vocal folds, but not to the extent that the tissue moves. Eventually one runs out of breath and is forced to take in new air. Is some air evacuated through the open nose?
Your answer to my second question is difficult to apply. Singing without expression is almost not possible. Old Barbershop was very technical in order to get the four part harmony right, so there was not so much room for emotion and feeling. However, modern Barbershop is supposed to be very emotional. Therefore a small amount of vibrato is accepted. But still, the overall requirement is to sing straight without vibrato.
Thanks for your help,
Dieter
When I try this approach where I use the deep breath/pressure it sounds deep and squeezed as if I'm straining. My larynx does not move but it is more of like I'd pushing/straining or same feeling as grunting in deep voice. The voice does not thin and I can only get to E4/F4 but it sounds like a grunt and with noise (not clear sound). People say that it sounds more as if I'm constipated. I'm not sure if this is the way it supposed to be, When I raise my larynx and thin vocal cords, I expel a lot if air and it sounds softer and clean, but lot if air comes out. My larynx goes up. I go up to F4# and then I really get thin but it sounds like mickey mouse voice and goes up to A4/B4. When I do lip trills, I can get to B4/C5 if I push lots of air. If I tried lip thrills in this deep squeezed sound, I can't even make the lips vibrate. Strange huh? I also can get to E5-A5 in whistle when I squeeze the cords, then if I try to let go a little bit I get this dark squeezed sound that I described above. I also think that when I do this full density sound, it maybe false vocal cords closing. Am I a Bass/Baritone then?
You seem to push in a wrong way, read Anthony Frissel I you can ("the art of singing on the breath flow"). You can't know what your voice type is until you find a right way of producing sounds. Keep courage 😊
It's possible to pop a vocal chord? That's extremely scary!
Not moving the jaw was so hard at first. But eventually I got the hang of it, thank you Mr. Trimble :) My throat doesn't hurt and my voice doesn't get coarse anymore. I still have to concentrate a good bit though
Just a bit? 😂. I have to concentrate like my life depends on it!!!
yeah nice one Michael, learned a lot from this video.
Thank you, your videos are very good!
Thanks you so much !!! In life i want to know why i do things ...mabe its bad or good but a lot of problemes with teacher who dont have a clear response and told you -do what i said !! -Your the only one i knew who give me a satisfy answer ....can you belive ?
Thank you
excellent maestro!
I am 66 years old and am trying to maintain a tenor range. I have watched a number of your uploads and feel that you are the finest instruction on YT. I not sure if you did a video on what is known as the passagio. I seem to have 2 breaks. One around D where I try to blend the chest and head voice, and one around A where I go into my head completely. My voice seems to feel quite tired after a while and will not go higher without cracking. Am I thinking of this all wrong or can you help with these setbacks?
How do you strengthen high notes without pushing more air out? Whenever i sing high my voice goes weak and just sounds like im talking really high, when singers like yourself do it its like all this volume comes out of nowhere lol.. where is the volume?? Ive finally learned not to push and can confidently hit the notes.. but theyre the same volume as my low-mid range notes.. someone help me out please
Thank you so much
I would love if you could do a lecture in demonstration with the female voice as you did with the beautiful voiced tenor the last time.
I am TENOR and I study with CORELLI. You are right.
LOVE YOU WITH ALL DUE RESPECT
HI! I am so grateful to You for sharing your wisdom, this is pure gold. I've been watching all your videos and they helped me so much to get trough the last year of bachelors, I'm fascinated and fanatic about technique, and everything you tell connects amazingly. But I have only one question, about breathing in. I have observed that many (and some of them good) tenors, when they breathe in,their belly drops a little and goes out and to the sides. And when they engage the sound,only then the belly automatically goes more inwards and stretches upwardsand as the facial posture gues up as you showed. I know that belly never should go out when singing, but only when breathing in, is it alright to relax your lower abdominals and let them drop before starting the sound, or they should be pulled in already on breathing in? I hope you understand my question. The thing is, when I pull my belly in while breathing, it sometimes blocks and my breath stays too high.
Thank You for answer! Yes, this is the same that I've been studying and found out so far, and this approves all my questions. I will continue the path You described. The idea to slowly relax abdomen while singing is great, didn't get this before. This vocal style is without doubt the best that there is and I'm slowly adapting to it after a bad school of pushing down the jaw and overlocking my body while breathing in, so sorry if my question sounded amusing, I'm actually reading Lehmans book and as she said, that nowadays conservatories are like factories that produce singers too fast, and most of them don't understand what they are doing, and when a singer with no school has lost the voice, he/she becomes a teacher (because she can't sing) and gives these errors to the next students. I will definitely order Yours, I have great admiration for You and singers that You sung with, I mostly listen to recordings that are not younger than 1980-s, almost all the singers you mentioned, because now there isn't much to listen to that is so ringing and beautiful. You carry this great tradition with You and that's very amazing, thank You for sharing this with me. I also wanted to mention the way how you showed the jaw should move, this is so right, I heard this excercise in a masterclass from a student of Elizabeth Schwarzkopf,she sung a lot with B.Gigli and he showed her the excersises with the same pattern that you do with your jaw (by letting only the tongue move and letting diaphragm do the work). Your book is the next in my read list. :)
All the best wishes for You and looking forward to new videos!
E.
My question regarding high notes is how to approach notes past Bb (B flat). I can maintain the correct space until high B. At that point, I either have to push, which causes the larynx to shoot up, creating a smashed/shrill sound that is unsustainable and unreliable, or back off on the sound and use extrinsic muscles to hold the larynx down in order to create enough space for the note to be open and resonant. I am a 23 year old lyric tenor in my sixth month of training, so the issue could simply be a lack of experience, or a weak inhalation, but I do believe that many tenors struggle with this transition point even up through the graduate level. If you could give some tips on the approach to extreme high notes (B,C,C#,D) I would be extremely grateful. Your videos have helped me immensely while I have been studying abroad away from my coach.
Thank you very much for all these helpful lectures.You are great!Please, I would like to learn, who you think is a very good mezzo soprano.Thank you in advance.
Thank you so much!All the best maestro!
Thank you for this great video, very enlightening. Was just wondering about something. You mentioned in another video, if I understod you right, that you use the lower back ribs and the lower back to squeeze the air towards the sternum arc as you sing. Is this something you do on highnotes or is it purely a mental thing desiding to sing the highnotes?
Thank you very much for clarifying Michael. Facinating experience trying to learn this. If you have the time I wondered if I could get your opinion on the use of the abdomen. I am not holding the lower back and chest activly out/open after inhalation but it feels easyer to maintain the openness and pressure against the sternum if I pull in the lower abdomen and keep it there during singing, not letting the lower abdomen out during singing. I liked the way it seems to compleatly disable the abdomen in singing if I "slap" it to the spine and keep it there. Was wondering if this a viable way to sing in your opinion? I belive you mentioned a soprano who did this if I understood you right.
Mr. Trimble, how do I build a base to my middle notes such as A3, B3, C4, C# and D4 because I can never get these notes to have any weight. My A3 has weight but as I ascend I hear my voice back off and I would really love to get strength into these middle notes because I know that’s the only way I can achieve higher notes could you please give me advice?
If you're a woman singing in chest voice as high as A3, you must exercise your head voice lower and lower and bring it back to at least D3 with enough power to be used for any mezzo piano/mezzo forte intensity. You must be patient, because you need to make new muscles, but also to find the true head resonances (see the video for finding the true mask by Michael Trimble).
I have taught a soprano singing pop music to get back her (finally huge!) head voice in these notes after damaging her voice singing too high and with a bad "technique" in chest voice. At first the head voice was like nothing, with a lot of air, but it get back in few months. Use a lot the ee vowel to exercise the voice, it helps to eliminate the air in the voice and to find the resonances.
Yes i read it ! ...take me a while to understand ....and one day i make the connection on varyous levels
Who would you consider a modern day tenor that uses this technique always? Or what modern tenors do you consider to be technically great?
Mr Trimble congratulations on your vocal technique and thank you for your valuable advice.
I wanted to ask you what you think about the soprano Magda Olivero and her technique.
Thanks very much
Hi dear Mr. Trimble,
I love your videos and I saw all of them many times, and I thank you very much for share your belcanto knowledge and your experience. I'm a 19 years old Italian lyric tenor and I really love singing (I apologize for my English). I'm practicing whit some of your exercises but I have a doubt about the true mask and the difference between the exercises to achieve it. Where can I write my full question? There is an email on your site? There is another way to send you a question instead of write it in this youtube comments?
Thanks you very much,
Pasquale Fanelli.
Michael Trimble I wrote the email, thank you again!
Mr. Trimble, this technique of reaching high notes can be also used by sopranos ?? Thank you in advance!
The best!!!
Hello Mr. Trimble. I am wondering if there is a difference between tilting the larynx or lowering the larynx? (On the inhalation of course)
Yes, Queen. Tilting the larynx is a terrible way to lose at least 1/2 of your sound. Tilting the larynx makes high notes thin out and sound much smaller and more insignificant and reveals the ignorance of any singer who tries to employ such a throaty, manipulated approach to singing. I've been around singers for over 60 years (I'm 83) and i have never heard a singer who tilted the larynx who has had a career! The larynx-tilters all become voice teachers who could not make it in the performance world. The upper range becomes a thin impotent sound suddenly when the tilt occurs, compared to the middle voice with the larynx breathed downward into a relaxed but low position. The old rule used to be "NOTHING MOVES UNLESS THE BREATHING MOVES IT". Never lower the larynx with muscles but only by breathing deeply into the lower back. NEVER TILT THE LARYNX if you want your voice to sound like one voice and not like two or more voices. Some people have a naturally big voice in the middle range, but the upper range, if the larynx is tilted, sounds much smaller and thinner as is not suitable for any repertoire that requires a full sound on the upper notes. This is a sure indication that the singer does not understand the function of the larynx at all and is literally making the voice smaller and ineffective. And the question remains, why tilt the larynx in the first place? it is an artificial approach to what should be accomplished naturally by deep inhalations into the lower back and mainstained by using the "lean of the breath against the diaphrargm" to keep the throat totally free. I hope this answers your question. All the best to you, Michael t
@@Tenoretrimble Good explanation!
Where's the center of focus of resonance?
I have question about the difference between an opera technique and microphone singing in modern music. I have heard many modern teachers that are teaching microphone singing say that the darkening of vowels in opera singing are the main difference between the two. I disagree with that and would instead say that opera singing requires a wider pharynx and deeper larynx and as long as the singer can uphold those components the darkening of vowels will only mudd the sound projection.
Wonderful
Thank you. High notes after G4, I think i have no action in throat its free but vocal cords start to shake little, or wobble. Is it matter or time for vocal cords to strengthen and get used to high chest notes or am I doing something wrong? I am all time checking breath support and tensions in throat, and I have just started to hit high notes after G4. Maybe vocal cords need to strengthen?
0:52 what is this trick with a cloth supposed to do? Im a beginner :)
Hello! I want to ask a question about ''stage fright''. For a young and begginer opera singer it can be a problem sometimes to deal with such a big audience. I was wondering how to deal with it? It affects my breathing and I often lose control. I was asking some teachers and they said it will pass soon while I'll get used to perform on the stage more... but still I don't want to wait and do nothing. Do you have some solution to this problem? Greetings.
Hi Mr Trimble. In the trill you demonstrate, are you trilling the tongue and also trilling the lip simultaneously please? Thanks!
@@Tenoretrimble Thnak you very much for that sir! Can i ask one more question please? Is your teachings suitable for Bass/Baritones please? I am some form of a light Baritone. My break area is Eflat to the right of middle C, and that E natural is my miss or hit ( usually miss) note.Thanks and greetings from Ireland,Colin.
@@Tenoretrimble Thanks Michael so much for all that. Im always amazed at how down to earth and caring you are, despite your encyclopedic knowledge& experience! Best wishes to you,Colin.
Hey Michael! Thanks for all the recent videos, I have blazed through all of them as soon as I could! I have one question for you. I have always wondered about keeping a neutral larynx while singing the more extreme 5th octave notes. Not matter how much I try, I always find myself slowly sinching up my larynx, making my voice quite small and piercing. Is there a point in which your larynx must raise in order to reach those more extreme notes? Or is it possible for me to be able to fill out those higher notes? I'm currently watching your video so you may answer this later on so forgive me if this question is redundant. Thank you!
Ha-ha-hah... Vacuum cleaner sounds about right.
Thank you so much for getting back to me, sorry for the late response, I was on vacation! Thank you for your wonderful advice and your amazing videos!
Dear Mr. Trimble, is there any technique to find out whether we actually sing from throat, in order to correct that pronunciation? Thanks! Mihail.
Hi Michael, I'm curious about what singers should think in terms of the direction of the sound. Personally, my teacher says think "always forward and start any note in very high position". Thinking on these two thoughts sometimes make my tongue very stiff and the sound don't travel..What would be then the good thought when we sing to prevent that things that happens when we think to send the sound forward? Thank you so much!!!!!
@@Tenoretrimblethank you for your quick, accurate and interesting response. So, if you are saying that we are like bells that stay in place and vibrate, that place has to be the soft palate. But as I understand, the voice travels because we make use of the mask, right? And if it stays in the place (soft palate) how is going to travel? I feel like there are four directions. One forward, one backward, one up and one down. I'm in Barcelona studying a voice bachelor.
If I get an image would be that my voice vibrates starting in my soft palate and then expands to the pharynx, mask in 360º right? But is always starting at that point.
Thank you so much and I would be delighted if we could continue that conversation in here :)
hello Maestro how can i make my chest voice strong
HI MR.TIMBLE !
Can you explain why is demanding so much energy to sing ? The day after its not vocal fatigue but body fatigue ....at the end we just produce air flow ? You can right your response in english
Martin portier I hope that Maestro replies, but two things come to mind for me. The act of singing quite literally results in a lower consumption of oxygen during the act of vocalization. Though it isn't a huge amount of time, we tend to build up a bit of waste material in the blood, particularly if the singing is very efficient. The 2nd issue is that the positive pressure (subglottic mostly) requires quite a lot of muscle engagement throughout the body to maintain an engaged tone and even/consistency of breath. All of those muscles use stored energy and also produce cellular waste products during the process. The vocal mechanism shouldn't be fatigued, but we've done quite a lot of real "work" throughout the rest of the body.
Hi Mr. Trimble, love your videos. I’m a little confused with the breathing , when you say push the abdomen forward is that soft or stiff. And do you push with your back ribs to move the breath so that you can hit the high notes?
Thank you Mr. Trimble. I’m sorry I dint mean to use the word push I meant lean on the breath. Thank You for answering me back. Your videos are helping me to understand how the breath support really works. I really appreciate you doing these videos. Thank You
Thanks !
Thank you!!!!!
I wonder about the difference between “chewing” and opening the mouth before the TMJ’s lock out for the high notes, at least for low voices. Ghiaurov really opened his mouth. The only bass I really can remember who did the complete polar opposite was Boris Shtokolov, but his sound seems a little too held back for my tastes.
love it
Thank you very much! =)
Hello Mr Trimble.I want to learn vocal technique. How can I download all of these videos? Should I buy a book?
Hi M. Trimble ! I totaly agree with you .....i’ts a thing i don’t do but see good singner do it ex. FLOREZ So i thought i mist some thing !
P.s. You can write me your response in english it’s ok
Question ..when we stop for few days no signing no vocalise ..they say the opening of the throat close ! ?
Thanks
Do you mean JDF? If you do, He is not a good singer.
nguyen yen whaaaatt. I listened to “cucurrucucu Paloma” by him yesterday and it was amazing. 😱
Question .
I take a chane ...do remember if you have a topic video about glotique under pressure ? I have all your videos but i don’t rememberd ! If you dont its ok ! Thank you
Thank you ! its funny the exemple with the bow....my teacher insists that we have to read Zen in the Art of Archery Eugen Herrigel
Yes, Teresa Stratas in Pagliacci from the Met!
I have essential question. For the leaning technique, do we lean or pre-lean BEFORE we phonate? Or we lean and phonate simultaneously?
Hello Sir,
If the larynx is not moving up, how does a young lyric-leggiero tenor prevent sending too much air upward in high notes (aka Pushing) and consequently tiring the voice ?
When singing the notes from F to -> high C, must the larynx GO lower or JUST not move ?
How do we prevent it to go into a SOB quality (less ovetones, less squillo) ?
If the larynx is maintained into a low position, is'nt the voice superficialy/unnecessarily heavy ?
And finally, what do you think about the Estill Model wich advocates the idea that the larynx can move up on the higher notes even for the Opera quality, as they call it ?
Excuse me for any english mistakes, it's not my mothertongue.
Thank you in advance,
Jules
Thank you for your answer. As a young singer, I'm obviously trying everything I can to sing effectively without straining my voice. I haven't had the chance to sing over a big orchestra yet but as soon as that time comes, I'm sure that I'll learn some more things about my voice and how to work with it.