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Science of singing by Franco Tenelli " The Appogio " ?

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i have lou singing here live with not just some serious power in the upper range, but some pretty enviable resonance.

to be this thick up that high had to be due in part to really strong support.

some pretty impressive vocals particularly at 1:09 to 1:18, 3:19 to 3:35

in this another one we have same kind of tone:

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A classical voice, with good appoggio and well established singer's formant, can hold its own against a 70 piece orchestra, with no microphone or amplification. I have yet to hear any pop or rock vocal technique achieve that.

I actually think dio could have done that, but one might argue his technique was not strictly pop or rock

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I actually think dio could have done that, but one might argue his technique was not strictly pop or rock

I made the mistake of reading the history of Rainbow and of Black Sabbath, as told through a series of interviews with the key members. RJD was quite informative in the history of Rainbow. Essentially, after Ritchie Blackmore left Deep Purple, he pretty much hijacked Elfen and it was the bedrock of what became Rainbow. He finally had a singer who could write lyrics that could match the music as he felt it. But I digress.

RJD played horn instruments as a child and teenager. So, I think he was telling the truth when he said that playing wind instruments, such as the french horn, trained him how to use breath. And resonance. For that is all a horn is. You have the vibration in your embouchre. The wind to drive that vibration. And something to resonate it well.

In the interviews, both written and filmed, that I have seen of him, he doesn't seem the type to lie. If he says he didn't specifically take singing lessons, he was probably telling the truth. And yes, his use of air served him well, even as he was suffering from stomach cancer. One of my favorite performances of his was at Waacken 2004. And he was already suffering from it then.

I can't stop myself. This is what controlling air can do for you, even in your 60's.

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  • 3 months later...

I really think we all should pay attention to the posts of CunoDante before this discussion turned to crap. if I remember correctly this discussion started on the subject Appogio. CunoDante has given you all perfect information on appogio even though some suggested that his singing was not on par. The insight he has do not always grant a perfect voice on some random clips but the information is there. Be ignorant and you will just lose insight. I am or at least used to be quite impressed with the gospel type and above all hard rock type of singing but I have found that it mostly holds no relevance. Support is so much more than modern teachings aspecially when it comes to appogio.

If you all claim that you have mastered the support I would strongly advise you to think again. You have not and I have certainly not mastered it and will never do this in my lifetime. It is just like growing muscles it is constant training. True appogio comes from listening to Tenelli videos and CunoDantes insight. Not all styles need appogio but if you think that the strength called for in appogio singing is unnecessary then think again because you are truly missing out.

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Wow, very coincidental. I just finished watching a video by Franco Tenelli about the appoggio and then this notification came to my inbox... very karmic.

The Appoggio approach to me sounds very beautiful, balanced and healthy. I think it is a great thing to work with for any artist in any genre. We work on similar principles at The Vocalist Studio as well. My only concern with it is it seems to produce a VERY serious Classical sound, not usually what most students or I want.

Tenelli's video also discusses three different sounds; covered, appoggio and white or "splatt".... he argues that the appoggio is better and the other three techniques are not as good. I totally disagree with this. Frankly, all three sound great and beautiful. Its just a different approach to singing Classical, but only the 'white' and elements of the covered would apply to contemporary styles.

I just don't see how you can say one is preferred over the other unless you were a very hard core classical guy, which Tenelli seems to be. Has the guy ever sang a rock tune in his life?

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Hi Robert,

I have your four pillars and it is probably together with the work of Ken Tamplin the absolute best out there if you want to be a great contemporary singer especially in the metal genre. But let us not be so protective. We have a lot to learn from Franco especial if we want to sing opera. Even if we do not want that appogio sound it shows us we have a lot to learn still.

Regarding Tenelli again he is a real cool cat that can sing in many styles. Great jazz and bossa but also some metal singing ala Ian Gillan. Above all he is a true artist.

Watch this clip

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I like Ian Gillan, too. Too bad he can't sing the high notes like he once did. I guess his technique didn't last him as long as some might wish. Or, he was doing okay before, started taking lessons from someone who told him he should be doing x, y, or z, and that he should be f, g, and h. Or, just being in his 60's is enough to wear a person out.

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Yes Gillan is good always were and always will be. I was just replying on Robert Luntes remark that Tenelli has never sung a rock tune in his life. He has and he actually did some Gillan stuff from Jesus Christ Superstar around G5. It was not as good as Gillan because he took the head voice to far low after that G. Lunte with his early bridgeing techniques had done a better job with staying in head voice low but it is different schools. And Tenelli has never claimed to be a rock singer but in my book it was most impressing for a classical dude. Appogio classical singing is not for everyone. And is not needed in most contemporary styles. Not every singer wants to sing in one voice. That said I really think we all should give thought to really try to get that type of comand on our breathing even if we do not desire the link to the full sound of appogio.

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Yes Gillan is good always were and always will be. I was just replying on Robert Luntes remark that Tenelli has never sung a rock tune in his life. He has and he actually did some Gillan stuff from Jesus Christ Superstar around G5. It was not as good as Gillan because he took the head voice to far low after that G. Lunte with his early bridgeing techniques had done a better job with staying in head voice low but it is different schools. And Tenelli has never claimed to be a rock singer but in my book it was most impressing for a classical dude. Appogio classical singing is not for everyone. And is not needed in most contemporary styles. Not every singer wants to sing in one voice. That said I really think we all should give thought to really try to get that type of comand on our breathing even if we do not desire the link to the full sound of appogio.

can you explain what you said about "not every singer wants to sing in one voice?"

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Yes Gillan is good always were and always will be. I was just replying on Robert Luntes remark that Tenelli has never sung a rock tune in his life. He has and he actually did some Gillan stuff from Jesus Christ Superstar around G5. It was not as good as Gillan because he took the head voice to far low after that G. Lunte with his early bridgeing techniques had done a better job with staying in head voice low but it is different schools. And Tenelli has never claimed to be a rock singer but in my book it was most impressing for a classical dude. Appogio classical singing is not for everyone. And is not needed in most contemporary styles. Not every singer wants to sing in one voice. That said I really think we all should give thought to really try to get that type of comand on our breathing even if we do not desire the link to the full sound of appogio.

Anders, thank you for clarifying this for me. As I wrote, I was just questioning how much rock style experience he might have? To be clear, I like Tenelli's voice, I think he sounds great and he seems to know what he is talking about. It also sounds a bit heavy on the Classical aesthetic to me.

One thing about his presentation on this is, he was making the point that one of the three different kinds of techniques he demonstrated was preferred over the other two. He feels that the 'Appoggio' was preferred over the 'modified vowel' version and the 'white' version. When I listened to it, I honestly felt they were all good and all sounded great. I was left feeling that there was more than one preferred option, but there were actually three that were viable. So his video helped me to appreciate these three different approaches, but he didn't convince me of his argument. He actually did a great job of convincing me the opposite! :/

I have been working more on this "Appoggio" idea and I believe it has a lot to due with engaging the 'core' in the respiration. It supports more fold closure. The pushing down and out of the respiration is a component of 'Appoggio" that I believe does migrate over to contemporary techniques. I think you mentioned the 'open throat' ideas in a different discussion Anders... in my view, the "Appoggio" respiration is part of the 'open throat' ideas, wouldn't you agree?

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... One thing about his presentation on this is, he was making the point that one of the three different kinds of techniques he demonstrated was preferred over the other two. He feels that the 'Appoggio' was preferred over the 'modified vowel' version and the 'white' version. When I listened to it, I honestly felt they were all good and all sounded great. I was left feeling that there was more than one preferred option, but there were actually three that were viable. So his video helped me to appreciate these three different approaches, but he didn't convince me of his argument. He actually did a great job of convincing me the opposite! :/

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rob,

although i have a ways to go to get consistently decent at it, when you sing with appoggio, you feel like the voice can just go anywhere and very powerfully. i'm a d.y.i., appoggio guy, so i'm probably missing something with it.

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... One thing about his presentation on this is, he was making the point that one of the three different kinds of techniques he demonstrated was preferred over the other two. He feels that the 'Appoggio' was preferred over the 'modified vowel' version and the 'white' version. When I listened to it, I honestly felt they were all good and all sounded great. I was left feeling that there was more than one preferred option, but there were actually three that were viable. So his video helped me to appreciate these three different approaches, but he didn't convince me of his argument. He actually did a great job of convincing me the opposite! :/

I have to agree with you here there are many ways to sing the same line and deciding which one is best for you is up to the singer. Once your technique is solid its up to you to decide where to go with it. Style is your choice,as Melocci said I can give you a voice its up to you on what to do with it.

:D

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... thanks Daniel... I have to say that to Dante's point, if the vowel modification approach really does crap out the text, then it may not be the best choice, however the 'white' option was still just as cool. But I think they all sounded good and Id like to think that the singer can have a choice.

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VIDEOHERE asked about singing in one voice. In my opinion you can use as many voices as you like as long as your vocals moves people. To sing in one voice mostly adhere to opera singers singing high C5 and at times D, E and F above that. Not in mix but in full voice. There is also a lot of good singers out there who mainly use one voice which are not opera singers. Dio, David Coverdale, Tom Jones, Whitney Houston at times, and Even Bruce Dickinson

I find this fantastic but it is not important. What is important is expression. All singers are different and thank god we have singers like Nina Hagen, Rob Halford, etc etc.

Trust me on this there is not one single technique that will fit all. You all have unique voices. Try to stay in that uniqueness and use all means and methods to get there. Singing is about emotion. If your singing is on the spot you can make people cry. Let's strive for that.

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In what I've read, mixed and full voice can't really be compared, because mixed voice describes physiological phenomena where there's a balanced TA/CT action, usually in the middle of the voice's scale. Full voice is an acoustical quality of the voice and the term is, as far as I understand, coined to be juxtaposed to falsetto.

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In what I've read, mixed and full voice can't really be compared, because mixed voice describes physiological phenomena where there's a balanced TA/CT action, usually in the middle of the voice's scale. Full voice is an acoustical quality of the voice and the term is, as far as I understand, coined to be juxtaposed to falsetto.

Very true, but I am a firm believer that "mixed voice" is the way we should be using our voice throughout our range.

There is always going to be some sort of mix going on regardless of the pitches that we sing. It is the true professional who optimizes the degree and percentage of each of each musculature to find balance throughout the range.

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exactly!

any vocal phonation which uses complete fold adduction regardless of note, regardless of volume, regardless of resonation, regardless of anything is full voice singing.

singer a: sings with a light velverty delivery with connected folds = full voice siinging.

singer b: sings with serious fold depth and support with huge volume and resonance = full voice singing

singer c: sings piercing pharyngeal screams enough to melt the paint off the walls with complete fold adduction but on the fold's edges = full voiced singing.

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exactly!

any vocal phonation which uses complete fold adduction regardless of note, regardless of volume, regardless of resonation, regardless of anything is full voice singing.

singer a: sings with a light velverty delivery with connected folds = full voice siinging.

singer b: sings with serious fold depth and support with huge volume and resonance = full voice singing

singer c: sings piercing pharyngeal screams enough to melt the paint off the walls with complete fold adduction but on the fold's edges = full voiced singing.

Great post Bob :cool:

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