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Are there any major differences in operatic singing and contemporary singing? Thank you for the videos.

Thanks for every information. Also trying to sing those high notes. The challenge is how to smoothly transit through the resonance

Amazing job. Wonderful exercises!

I would wish, that you will give this man a listen: Dimash Kudaibergen. He ends his vocalise of "Ave Maria" with a messa di voce (to give a small context to his singing, his voice covers 6 octaves in pure tone) ruclips.net/video/mLG8g2ooFSA/видео.htmlsi=J21UJuYqV-IrvIB4

Sounds like a cool challenge. Will try later.

Great breakdown on the fundamentals of breath support! The detailed explanation of posture, diaphragmatic breathing, and the exercises are super helpful. The Ferrari analogy really clicked-thanks for sharing these insights!

👏🏽👏🏽👏🏽🤩🤩 ¡Excelente interpretación maestro. Muchas felicidades!

Muchas gracias por compartir tus videos. Me han ayudado muchísimo 🤩🤩 y he notado una mejoría en mi voz. ¡Eres un excelente maestro! 👏🏽👏🏽👏🏽

These are great exercises for breath support. I especially like the video you made a few weeks ago with the repeated scale. I've been able to do it for the 5 reps, required, so am very pleased. Thanks, Josh.

Wonderful! Thak you very much.😊🎉

Isn't apogio about the sound you make to produce the opetatic sound? Breath exercises are great but i think it is often times easier to think about the type of sound and feeling you get from doing these things to really do them as a pasive mechanism in you body!

Excellent content and instructions. 🙏🏼

Teşekkürler.çok faydali.❣️🙏

Why are you making singing an extreme gymnastics? Ridiculous exercise

1:28 1 rep 1:54 2 reps 2:16 3 reps 2:42 4 reps 3:19 5 reps

Yes having a voice teacher makes all the difference. i couldn't sing at all until i went to a teacher. I got my moneys worth in the very first lesson: open your mouth!

Sir, what if you have an asthma?

James King was 35 before his debut as a tenor. He worked with Martial Singher, and eventually had a brilliant C, which you can hear in his many performances of the finale in FROSCH

I thought a high C was the next C (an octave higher) , which I sing , thanks for clearing that up .

Thanks for sharing. Now I can’t wait for “You’ll Never Walk Alone.”

Your tips on balancing tension and relaxation for vibrato are spot-on. The demonstration of vibrato types is particularly helpful for visualizing the concept!

Indeed great technique to master. Watch out for some of the things: - Keep the throat volume the same throughout the dynamic change - Keep vibrato the same. This one is hard on piano - Keep mouth open on piano Basically there should not be a slightest change in the vocal position between forte and piano. Only because of our tendency to reduce the larynx volume and breath support when we go diminuendo, we need to exaggerate and increase it on piano to get rid of this habit.

I'm learning opera singing for three years now there times per week. You CAN and SHOULD control the speed of your vibrato to convey piece message(slower for more dramatic emotion for example). There are exercises for it. Vibrato slower than 5 oscillations per second may sound heavy or labored, and in some cases, it can be perceived as a sign of vocal fatigue or aging which is considered a defect and should be corrected. WIth old age vibrato may slow down due to many factors such as muscle weakness, reduced control, decreased flexibility, breath control decline, etc. In this case you can't really correct it. But in most cases you can. Vibrato faster than 7 oscillations per second may sound tense or nervous, and can sometimes be perceived as unnatural or forced. Also a defect and should be corrected. Vibrato speed is essentially the change of pitch that can be changed at will as you changing your regular notes. For the exercises I can recommend: 1. Sing with one note with metronome. Gradually decrease or increase metronome speed and try to match your vibrato with the metronome beats. You may first determine your current speed with metronome and then speed it up or slow down to sweet spot of 6 oscillations per second. 2. Sing one note and start from very large vibrato swing. As if you sing the 1/4 step higher that the actual pitch, and then 1/4 lower. Then you increase the vibrato speed gradually. It helps to develop the control. Aim for 5-7 oscillations per second.

You know someone is good when is able to do what he wants to teach but this man knows even how to do mistakes on purpose. Amazing

Thank you❣️🙏

This teacher is so knowledgeable and so clear in his explanations! Really a jewel that RUclips algorithm brought to my attention. Looking forward for future videos

Ual que video sensacional

Great video, Josh! These exercises are really helpful for improving vocal range and technique. Thanks for sharing!

HELLO COUCH, I LIKE YOU TO BECOME MY TEACHER FOR SINGING LESSONS

very interesting

That hour glass is interesting. I had found out instinctively too that while transitioning from chest to head one should not try harder for higher notes but instead almost "collapse the energy" on the transitioning point in some vague way until once head voice dominance found. Then can use more energy energy without however striving for broadness and loudness. It's here more to sustain the note. Well, at least for me and for now.

Excelentes ejercicios 🤩🤩🤩 muchísimas gracias por compartir. Mucho éxito en tu canal!!!👏🏽👏🏽👏🏽

Great now I can laugh with beat

I am 85 years old and with the help of a voice coach my vocal range has stretched from D4 to at least E5. Singing dramatic tenor at C5 depends upon the approach to the sound. My sound is generally better than yours and when I sing On My Own (soprano) I hit the C5 almost exactly as famous soprano's. This is litter than a dramatic tenor.

Thank you, keep up the content sir!

Me watching the video: How hard it can be just sing one note? Me actually try: Accidentally sound from a duck, goat, cows, immature drakes, lizards, to a rabbit....

Thanks

Oh my, i know rite? I have (probably stupidly) fallen into running this kind of exercise as part of my singing practice, though I have not been instructed to do so, or how. I really feel uplifted and happy when I lock in to the note and crescENDOOOO but then backing off from it, I lose my entire energy and it's best described as my voice wanting to disappear and hide as quick as possible, and I guess that carries through to what energy I feel I have to donate to my voice. Argh. hope I get some tips. lol f/contralto I'm opting out of matching your exercises 😢

Very useful, tnx

So amazing

I wasn't searching for information about this, but I'm glad I found this video. I actually first encountered this exercise through my vocal therapist, and yes indeed, it is deceptively challenging. I was fortunate in that I had enough of a music background, mostly bagpipes and penny whistle, so that was quite helpful in terms of understanding what she meant about the control required. I believe she used the term Messa di Voce as well. We used it to build up strength and control since my throat was always hurting from overuse/abuse at work. Thank you for sharing the exercises. It will definitely help me in working with my therapist.

Thank you for your excellent instructions. I'm sure what I am about to say is already something well known. But, I found I could train the muscles below the larynx to pull the larynx down, and this enabled easier movement through the passaggio, and the ability to maintain resonance without cracking, so that I could practice Messa di Voce (the passaggio is around E4-G#4 for me).

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Seems like a really solid set of exercises. Thanks.

THX!!! In a world of tenors it seems no one cares about us baritones!!

Great!

3:35 actually, im 15 years old and can hit the c5 note in mixed voice! though i find it a bit hard to sustain the note. planning to get a vocal coach so i can master the high C

Thank you. It works :) ❤

Hey! That was my question! :) thank you for the video! It was very helpful. Here is another question for when you have a moment. I find that the hardest high notes for me to sing are between Bb4 and C#5. Once I get to D5, I feel like my voice opens up. Oviously there isn't much chest connection, but the sound feels full and easy, and I can sing up to Ab sometimes. And it is not falsetto. But between Bb and C#, I struggle to find the right balance between head and chest. Is this normal? And is there merit to approach those high notes from above and below? Bring head down; bring chest up? The motivation behind my original question was a desire to understand the balance between "technique" and "muscle." So if someone sings for 2 hours and feels a little tired at the end, is it because they were singing well and just need to get stronger muscles over time? Or is it because their technique is off and they're doing slight damage to their voice every day? I think what you're saying is that it could realistically be either. It depends on age, fach, technique, etc... You need good feedback from a solid teacher to make sure you're heading in the right direction. Thank you also for the demonstrations in the video. As always, you're videos are great! Thank you for putting out your excellent content! - Luke

You can tell someone is knowledgeable even by small details: "passaggio" and "Rossini" were pronounced perfectly!! I'd appreciate a video that explains clearly how to learn to setup the voice to reach those high notes. I am pretty sure it is "falsetto rinforzato" or "falsettone" but maybe i am wrong. I don't know well how it operates and how to acrivate it