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kickingtone

Salvatore Fisichella teaching Jack LiVigni - anybody here understand Italian?

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Posted (edited)

Can an Italian speaker help me out please.

 

In this video at 6 : 00 they switch rooms. Do they say why? If so, what is the reason?

 

I can only guess from the sounds, actions and gestures. It seems to me as if may have something to do with the Italian 'e' vs the English 'e' (which can push the tongue back). Could it be that they changed rooms to help with the feedback and resonance? Did Fisichella decide that this would help LiVigni? Or did they simply have to vacate the room for someone else!

 

Whatever the case, it seems to have made a big difference.

 

(I'm guessing that it's not two separate videos stitched together to give a false time frame.)

 

[video=youtube;DiYyY2Fhp8g]

Edited by kickingtone

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In this video at 6 : 00 they switch rooms. Do they say why? If so' date=' what is the reason?[/quote']

 

He's saying...see I told you the room makes no difference

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I actually watched this video probably a week ago. No idea what they're saying. Jack Livigni has some good insights on singing in his videos though.

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Posted (edited)

What I like about these videos (especially concerning the Bel Canto tradition) is that I have come across many of the issues being discussed simply by listening to my own recordings, identifying problems and trying to find a solution by experimenting. Often, by time I see the same problem being discussed on YT, it is easily recognizable, I have already played with it, and I have a solid enough idea of what they are talking about. So, I can compare their recommendations with whatever I have found out through experiment. It makes those videos several times more valuable than if they were uncharted waters.

 

For example, I have heard Tenelli, Trimble and LIVigni talk about how certain vocal configurations will not convert or "turn" correctly in certain situations where you have not prepared. There is a point at which you may be stuck with an inadequate mode or configuration while leading into a particular phrase. No amount of adjustment thereafter will solve the problem; you will only end up pushing. The key is "being in the right lane some time before you get to the intersection." That is why practising a phrase on its own may not fix the problem. As soon as you sing it in combination, what goes before may lead you subconsciously into the wrong configuration (which may work perfectly ok in another situation).

 

I also realized that I was correctly following Tenelli's appoggio tutorials when he describing a particular diaphragmatic configuration. He mentioned in passing that, for the particular example he was singing, you can't do the action twice (you have to reset somehow, in between). I'd already discovered this myself, through experiment,. That indicated that I was following him correctly.

 

When looking for videos online, I look for people who can describe and address issues I have noticed. That tends to eliminate the quacks and those whose approach is unnatural for me. (You need a lot of experimental material for this to work). For whatever reason, that seems to have left me with these really good classical tenors, even though I am not into classical singing, at all! (My appreciation of it has increased as a result, though.)

Edited by kickingtone

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Generally he appears to be trying to get a certain color/inflection out of the subject. Copy the new sound if that's what you want. The rest looks like foreplay...

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