27 thoughts on “How to sing mezza voce Franco Tenelli

  1. This exercise helped me strengthened my high register or it may not to you.
    Learning how to sing is science as Tenelli describes. Do not under estimate
    your ability hidden within yourself. Thank you. Tenelli.

  2. Mr. Tenelli needs to learn lighting. He speaks head on to the camera with
    his face in darkness and in front of shift bright lights. This is like a
    demo of how NOT to make a video.

  3. how about just say what Lamperti said,singing forte is releasing and
    singing piano is holding back. you talk about science alot,can u prove
    scientifically that the diaphragm is key to singing?I know alot of people
    who can breathe quite well according to those that perpetuate the belief
    that it is all got to do with the appogio but they dont necessarily sing
    well. wouldn’t it make “scientific”sense that the vocal mechanisms
    freedom/function has the control over the breath/not the otherway? 

  4. @hobo1975 D. is the key to a classical approach, it’s proven longt time
    before me:) Vocal success will depend not only on the method singers uses
    but his ear both vocal and musical. There are 4 type of appoggio vocal
    breathing(check out Gerome Hines’ “Four voices of man” chapter 3=appoggio

  5. @TenelliVoiceGuru thanx for the reply maestro.i will try to read Hines
    book.still, i would still like to see your proof,i know alot of singers
    attribute their singing success to their breathing control,however from
    life experience i know that what people say and what is actually happens
    can be different.just saying it is proven a long time before you isnt
    proof!

  6. if you read cornelius reids book on bel canto principles and precepts.1974.
    he looks at the writings of great teachers from the earliest times of tosi
    and mancini up to the 20th century, and he tables each of the 3 centuries
    and what were the practices of each period,breathing wasnt even mentioned
    in the 17th/18th century.

  7. @hobo1975 17th/18th century. 1.sight singing 2.vowel formation 3.establish
    chest and falsetto registers in all voice types. 4develop each register
    separate entity. 5.blend each register by perfect mutation. 6.simultaneous
    development,in order of difficulty; (a)solfeggi (b)legato (c)portamento (d)
    easy embellishment (e)difficult embellishment (f)messa di voce (g)agility
    7. emphasis on pure vowel quality throughout. all exercises were done a
    capella.

  8. @hobo1975 19th century procedures of lamperti and garcia. 1.Breathing
    2.resonance. 3.vowel formation. 4.sostenuto. 5.legato. 6.portamento.
    7.messa di voce. 8.agility 9.subject of registers touched upon lightly and
    essentially in agreement with earlier procedures. gradual transition to
    accompanied exercises. 

  9. @hobo1975 lastly 19th and 20th century procedures of
    shakespeare,schoen-rene and other moderns. 1.breathing 2.relaxation
    3.agility. 4.voice placing. 5.support of tone. 6.singing on the breath 7.
    open throat.

  10. La mezza voce,qui n’en est d’ailleurs pas une,est,par conséquence,
    bouchée,poussive,grince déjà sur le sol,n’est pas liée avec le falseto et
    fait l’impasse bien évidemment sur le si et l’ut!Du footage de gueule dans
    les grandes largeurs et les deux sens!J’appelle cela envoyer les gens dans
    le mur(du son)!

  11. The ability to close the vocal chords and shape the vocal tract to produce
    a resonant tone is the key to sing beautifully, but if the inspiratory
    muscles (diaphragm, intercostals) aren’t strong enough to oppose the
    expiratory muscles (la lotta vocale), then all the technique in the world
    won’t help. From a purely physical level, the condition of your inspiratory
    muscles on a day to day basis determine your ability to sustain a clear
    resonant tone. Weak diaphragm, overblown chords.

  12. When Gigli talked about light singing or mezza voce he said that he didn´t
    use the diaphragm at all. I feel that mezza voce singing requires a feeling
    of almost inward singing, and I can´t think inward and push down at the
    same time. My support feels higher in the back and in the ribcage when I
    try to sing soft especially in the high range.

  13. Allons un peu de mesure ! M. Tenelli est un immense ténor de classe
    mondiale doté d’un sens inné de la pédagogie mettant son savoir et son
    enseignement à la portée de tout le monde, le moins que vous puissiez faire
    c’est d’intégrer ses données et pour ce qui est de la critique non
    constructive, veuillez passer votre chemin en rasant le sol.

  14. mezza voce on high C I can’t do either:((( may be you mean falsetto? then
    High C falsetto is easy to produce but sul fiato senza diafragma

  15. Oh no, maestro. I misled you. I meant an octave lower. I don’t even dream
    doing a morendo on high C, like di Stefano. No problems with falsetto,
    anyways

  16. Mr. Tenelli, I highly respect your words and wisdom and have gained much
    insight and confidence through your very generous videos. But I can’t help
    but wonder if you are still able to hit the high C without a mustache? 

  17. Breathyness is not an English word. Channel has two n’s. It is interesting
    that Frank’s English is as accurate as his singing knowledge. Besides, he
    is the most boring person I have ever had the pleasure not to meet. Piú mai
    Tenelli!

  18. thank you! I’m starting to follow your video from now on 🙂 I found out
    that you were such an amazing tenor and soulful teacher. If you have times,
    I will be happy to send you my singing clips. Then you can leave some
    comments for me to improve my voice! thank you very much

  19. Franco, I have a question…my teacher Renato Sassola said the same thing,
    that you have to use the diafragma more in mezza voce than when you sing a
    piena voce…however, Beniamino Gigli said that when he sang his misto or
    falsetone rinforzato he sang sul fiato, with no diafragm, and he made some
    samples…then…what is the real method? I don’t really understand it…

  20. This singing course provides an excellent foundation for absolute rookies, as well as for individuals who have had some primary vocal coaching but need to acquire a extra in-depth information of singing.

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