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appoggio technique post

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hi folks,

well, while i wait for myself to get better, i came across and great way to explain appoggio and b.t.w., franco tenelli just started a 4 part appoggio class on youtube.

one of things he says in part 2 is how you begin to develop appoggio technique by starting out with just a few naturally resonant notes, and slowly add more notes, rather than trying to build up too fast.

here's a great article to help explain this technique i have taken great interest in. i love when you read something like this and the concepts and methodology just sink right in and it all makes sense.

http://www.shirlee-emmons.com/breath_management.html

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I'm a fan of Tenelli so I'll definitely check it out :)

My teacher mentioned appoggio in our lesson today. I realized that it was one of those things that I couldn't consistently replicate that made me sing better on certain days.

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It's been quite a while since I last read Shirlee's article(s). There are a few comments from various articles that stick out that we adopt / change, "Noble please ... but not military (as student adopts military stance first)", and SPLAT (Chapman).

She refers out to Millers book - Training Soprano voices, a book to which I have mentioned that I have been slightly disappointed with.

I think the disappointment was due to having having Millers - The Structure of Singing first. I would say there is a large majority of TSV in Structure, which is why likely I was disappointed with it (a ... have I read that before ? moment). I would say there are some good examples, but not anything that isn't known already from other readings / use.

The Structure of Singing is one "daily use" bible to me, many of the exercises in there are stuck above the piano and used frequently. It is one book - I would highly recommend to everyone. My two "daily use" bibles are Structure of Singing and The Diagnosis and Correction of Vocal Faults (James McKinney). Using texts . learnings from both books and combining them are VERY effective.

TSV has an excellent paragraph though (although can't find it at mo - was toward the end), so does contain some extra stuff. It's one of those books that I look for cheap Amazon or Abebooks to purchase, rather than a full price one. I'll alter post once I find the text - but it does show that TSV is not a daily use book.

But these books are only a small part of the whole collection, As I have said before (and others have mentioned) that all the rest are worthwhile, Reid, Husler, Chapman, Lamperti, Garcia, Flemming, Lehmann ... etc ... as well as articles such as you mention as well as anatomy books.

I too will be checking out the YouTube clips.

Stewart

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  • 2 weeks later...

Bob, I'm finding this appoggio technique stuff extremely helpful. I need to watch all the video clips... I watched the first one.

I guess you saw the link at the bottom of Shirlee's link you posted...

http://www.shirlee-emmons.com/Underwood.html

"UPDATE! on Breath Management by Shirlee Emmons"

Had some interesting knuckle sucking :P, arm dropping method for developing appoggio. I've tried it a few times and its been helpful getting the coordination more finely tuned.

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Bob, I'm finding this appoggio technique stuff extremely helpful. I need to watch all the video clips... I watched the first one.

I guess you saw the link at the bottom of Shirlee's link you posted...

http://www.shirlee-emmons.com/Underwood.html

"UPDATE! on Breath Management by Shirlee Emmons"

Had some interesting knuckle sucking :P, arm dropping method for developing appoggio. I've tried it a few times and its been helpful getting the coordination more finely tuned.

i'm really into this technique. it really helps if you're strong in your lower core. it can feel like there are no registers, right?

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When the various support muscles are all in balance holding the diaphragm suspended, it can feel remarkably easy to sip the air at high pitches. Little effort. I've been practicing this with high pitches.. up to around c6 and very gently sliding down at low volume while sipping the air. The more I practice it, the better I can tune it with good resonance that allows me to get a little louder with no additional effort. And yea, it seems to me viewing it as different registers just complicates the imagery. It is just thin to thick folds with infinite levels in between.

Practicing the real high stuff gently and sliding all the way down for a while makes it easier for me to get the appoggio coordination going before singing my normal regular stuff.

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  • 2 years later...

Gotta pull this up out of the depths..

Appoggio helps with contrast singing, which I'm very, very bad at. My singing is kinda Volbeatish: On or off and nothing in between.

I've seen some threads get started with a question that goes along the lines of "How come singing softly is harder than singing loud?" I can attest. I can twang and belt (at least I think I can, and my friends think I can) but whenever going slows down and I have to switch from a belted, sustained note to a soft falsettoish tone I have like three trip-ups along the way.

So I guess appoggio is the answer to this. At least that's what I've found just by doing some simple scales with the "out-breath" sensation.

One thing I just cannot get my head around: How am I supposed to get a really cutting, clear and bright high note with appoggio? It feels the two (twang and appoggio) cancel each other out.

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I'm not sure. I did "road of the cross" by Jorn but I can't keep it in the appoggio mode, so I end up just using a shouty, twangy/bright tone with vocal cord connection. I dunno, i guess I should record sometime. Also, is my logic right in telling me appoggio mastery is a prerequisite of mezza di voce?

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you already have appoggio if you are connected loud or soft, if you are not connected then you lost appoggio. from then on its how much connection you want or need to keep singing in a connected tone. Appoggio is an italian word for support(to lean upon) its not separate from support.

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you already have appoggio if you are connected loud or soft, if you are not connected then you lost appoggio. from then on its how much connection you want or need to keep singing in a connected tone. Appoggio is an italian word for support(to lean upon) its not separate from support.

This.

And if you DO NOT have dynamic control, then its not well supported.

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dan, i respect that you say that appoggio is simply support, but when you watch all of tenelli's videos you come away with a different opinion.

there is support, but tenelli teaches a greater level of development and engagement......

it isn't the only way, just another way.......let's call it hard core support? lol!!!

it's mainly for opera singing, but it can be applied to rock too.

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I can understand both of you. The way I use the term is usually as a synonym for "strong extrinsic support". Appoggio means "to lean on" and I use the term, when I support so strongly that it really feels like "leaning onto" my sternum.

I don't use it as a synonym for general support, because you can also support via intrinsic musculature without "leaning on", but many people only consider the breathing musculature to be the only source of support, and in that case it's really basically the same. You could just argue that you don't always support so strongly that it feels like "leaning on".

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I'm confused on where it says inhale sideways and not frontwards (at bottom of page). does't that mean pull in the abdomen on the inhale and then support would be resisting the ascent of it. yet that goes against what cvt says in that on the exhale support is slowing down the descent of the abdomen which would mean the abdomen goes out on the inhale contradicting the appoggio link.

is there more than one way to engage support or am i just interpreting it wrong?

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