Jack LiVigni - on not stopping or moving air… (follow up part 2)
2024 ж. 20 Нау.
4 669 Рет қаралды
Tenor and voice teacher Jack LiVigni explains the nuanced intentionality behind air management, support and adduction.
Jack LiVigni is a renown tenor, and voice teacher serving on faculty at Curtis Institute, Brooklyn College, and voice teacher for Jette Parker Artists at Royal Opera House LOndon, and General Director of Mediterranean Opera Studio & Festival in Sicily.
i cannot express how much i apreciate your videos...
hi Jack, you have the look of Caruso, you sharing of your skills is well appreciated thanks again.
Excellent insights! Thank you for posting these and also for allowing comments this time :)
great teacher, nice one Jack.
Priceless! Bravo maestro!
I very much appreciate your videos. The best note I have ever hit was light, and free, and it increased in volume by itself. The feeling I had was of suspension. Your command of that perfect tenor sound on demand speaks for the legitimacy of your technique.
Thank you. Your explanations are always so clear and have made such a positive difference in my understanding of the voice.
Thank you very much for posting these videos.
Absolutely wonderful Jack! So much of what you are espousing reminds me of the wonderful E. Herbert Caesari and D.A. Clippinger in their speaking of the councious mind. I believe it was Caesari who said that, "...the concious mind is a fearful muddler. All the work of singing must be given over to the subconcious." Thanks again Jack!
PURE GOLD!!! 🙏🙏🙏
Thank you Maestro! 👍🏼👍🏼👍🏼
Thank you maestro , I am a student of one of your Australian students . This information is of greater value than you can comprehend 🙏🩵 Humbly grateful… There most definitely are absurdities out there that sadly abound !!
excelente,gran Maestro!!!
Superb explanation! ❤
Grazie Maestro!
Bravo!!!! Muchas gracias Maestro!!! totalmente acertado
Grazi maestro! 😊🙏🏽
Thank you, maestro. I finally understand how to control my breath. I finally can sing high notes easily with the corect breath control, but still not always able to sing through my passaggio. Sometimes I succeeded, and other times failed, especially when I intended to sing through passaggio When I don't think about singing through passaggio, it becomes easier, and almost feels automatic. I feel like walking on a thin wire connecting two towers 😅
Hi Jack, how would you explain the fact that there are many recordings and videos of some of the greatest tenors in history where you can hear them literally pushing air (or a least creating a short but sometimes intense impulse of air) to attack certain notes ? I’m curious about why those great masters would take the risk to do it if it’s somehow « wrong » for their vocal health and decreasing their resonance ? Or maybe is it precisely because they’re masters that they allowed themselves to do it with total control for stylistic purposes ? Thank you for all your videos and really instructing explanations, this channel is pure gold! 🙏🔥
Yes. Often tenors release weight from heavier register to lighter by doing this. Its a crutch but can be very effective. Listen to Lauri Volpi!
So well explained, thank you! But how would you describe the process in a situation when you cannot hear your own voice? When you have colleagues and orchestra surrounding yourself?
Grazie maestro, this very informative. Explains a lot of intentions that ww need to focus when we study. There's another pressure though: the psychological one. Going to high register i feel such a sense of PANIC (insecurity or just lack of air?) to which instinctively i react with pushing as if "forcing the air out" (not that I mean to). Is this any normal? Disastrous result. And The opposite of the GEBTLENESS you always invoke. How do we focus on the BEAM? We can't Direct it to the mask or up, or to the back (or should we?). How could we (I) win that panic feeling and how would we control the beam? Any comment and help is highly praised Grazie mille
Very informative. How do we go about the sound rising to the mask without putting it in the mask. I try to let the sound originate in the throat and just rise to the ringing sound, but I’m often told that my “core” is lost.
I get so vocally tired when I am not using the light mechanism. Been trying to get the approximation but my muscles get so fatigued. Starving the air gets my cords so tight. Tending to think I am not a tenor but a baritone.
Excellent Maestro Jack, rather than push, sometimes in high notes I feel that the diaphragm reacts for itself, is that correct?
Hey Jack! super cool vid, does this apply equally to baritones?
Hi. You are an amazing tenor and teacher. I am tenor as well. You have a lot of knowledge . Is it possible to study with you(online)? I come from Poland. Regards
Great explanation- those are all my problems!
How could one adopt this kind of idea and technique and apply it to rock? Or is there even a carry over?
it's a direct carry over.
So does it follow that you think that the non-driving melocchi tenors, such as MDM, were using too little air and therefore bulking to folds? I was thinking about what you said in pt 1. At least my own studies and interactions with such people, I have found the difference isn't an intentional blocking or driving of air, but rather the Melocchi influenced singers tend to exaggerate the closeness of the phonation to maximum suction point on inspiration. This draws a very compressed fold to the compressed sound column which is being displaced and formed by the folds. So with such a breath set up, melocchi type phonation doesn't require any conscious blocking of the air because the folds naturally close to meet the kind of air they are interacting with. But that is a generalization as there were seemingly a number of different schools of melocchi type singing and it is hard to equivocate someone like Giacomini with Del Monaco for instance, or Cecchele. There is a greater parallel between someone like Melochior and MDM then there is between Giacomini and MDM. I probably have this tendency, hence why if I do the straw exercise, it is useless for me as my air actually decreases as I go up; although I am certainly not trying to actively glottalize the air. The confusing thing about singing of course is that there are some people who DO use quite a lot of air and are very loud and project well and resonantly. But I guess you can be loud like a releasing pressure tank; or loud like a the fog horn of a ship, and both are really loud and resonant, they just require different volume versus pressure balances.
MDM, with his rock solid closure and muscularity would have required MORE breath pressure. His type of phonation has a higher pressure threshold for phonation. You can hear, if you listen carefully, that Mario Del Monaco's b-naturals, and sometimes even the b-flats have a little bit of air and fundamental harmonic in them (occasionally). The students from his brother's studio (Marcello Del Monaco) did not sing like Mario. MDM did NOT sing covered from bottom to top like Marcello's students did.
Wow Maestro, complimenti per la sua splendida voce, e mirabile tecnica!!! Eventualmente per contattarla, come posso fare???.... Aspetto sue... Cordialmente saluto!
So well explained, thank you! But how would you describe the process in a situation when you cannot hear your own voice? When you have colleagues and orchestra surrounding yourself?
Intentionality should be built around not only what you hear, but also of the memory of what you do physically and what that feels like. We have to be able to execute with minimal feedback from our ears. In essence the answer is: experience. I have many colleagues that, like myself, have even tried singing on stage with earplugs to train this.