I think the Ee vowel is hard if you have a tendency to close the throat. The Aa and Oo vowel can be hard if your problem is cord-closure. Your high C sounded great!
This was super helpful since beginning to sing I drove my teacher crazy because I always was determined to sing in original key (probably because as a pianist I worked hard to be able to play in all keys but would try to respect the composers choice of key. Now that I am approaching my first full year of vocal training I am now much more open to learning low voice repertoire and even adjusting the key of songs to fit my range for as you say the beauty of the voice is now more important than the pride I love how you articulated and expressed the positions of both sides
Exercising dark vowels like oo oh aw. Nilsson stated in her biography that Hislop taught here the squillo element, but another teacher by working on the deep vowels gave here the connection. My(tenor) experience has been that working from C3 to about C4 with dark vowels, they open your throat and train the larynx to stay low whilst singing.
When I was younger I literally found it inpossible to sing a proper 'Ee' vowel in or above the passaggio. I'll be 30 in about 2 months and I've just recently, within the past 6 months, started figuring out how to sing the Ee vowel on my higher notes.
It's a shame I didn't find this channel sooner. I have a very strong bass, but anything above that is troubling for me. You've helped me expand that range a bit, and made my voice sound much greater than it once was before. Thank you so much!
Taylor Rosser Nothing, I just meant that if you're a bass, that's a voice type, and you can work on your high notes, but you can't turn into a tenor if you're not one. And it's OK (ie. pretty normal) if you can't sing well above an F or whatever
When singing the vowel 'e' above the tenor F, I was taught to sing it on the vowel 'ah' then closing my mouth a bit which makes it finish on a sound like an 'e'. It is a cheat but the mind only registers the last vowel sounded and if it was an 'e' the impression is that the entire note was the 'e'. The challenge with the 'e' in the upper range is to not let the upper larynx collapse with an accompanying lifting of the back of the tongue.
I want neighbours like you, my society is dead nobody is into any type of art, all are just surviving zombies. I want artistic people. I feel so shy singing all alone :/
I think Mr. Tenelli makes a good point - don't raise the larynx or close the throat to sing an ee vowel. I have just watched two videos of Pavarotti singing alarmi, and he sings 3 syllables....I'm pretty sure he says the mee at the end...not sure where he doesn't (at least in youtube).
I'm kind of curious if a covered/compressed "EE" is somewhat helped by adding a bit of twang to it with the zygomatic muscles raised. That would help brighten it up a bit and add a good amount of volume. The choice of how you choose to pronounce it (flat tongue with high back) probably has a lot to do with how comfortable the note you're singing is and whether you're a baritone or a tenor. It seems that a tenor would have less problems with pure closed vowels because the note is already in their comfortable part of their range. It would also be interesting to explore the options available to singers with TMJ, given that it affects the proper allignment and closure of the jaw.
***** Update: It's been awhile, but I now have trained enough to sing the "EE" as an "AH". Still, my prefered modification is "IH" in curbing with the tongue in the middle somewhere and my cheekbones raised.
Maestro what are your opinions of correct tongue placement should it naturally rise as in ng position with the ee vowel and should the tongue have the same arched position in the vowels ah and oh ? because I have been told that my tongue need to be in the same position when singing these vowels as ng with the sides of the tongue touching the upper teeth which to me seems impossible unless you have extraordinary big tongue otherwise the sound will be woofy and will not project with a limited range of the higher notes However I find it extremely difficult to maintain this tongue position when singing oh and ah it is true the sound comes out less dark and more space but I cannot accomplish this unless I push against my tongue and resist the force of the fingers with the tongue and I am getting a nice ring to the higher notes without the tongue being in this arched ng position on the oh vowels anyway it is all very confusing one person say smile the other say ng tongue position and my body say it not like yes it feels freer to have more space at back of throat but I just would love to know how to achieve ng position of tongue while singing in ah or oh vowels without forcing the tongue there
Dear Mr Tenelli. First of all thanks for all of your efforts in making these videos. There is one thing I would like to learn from you. How was your voice built? How old were you when you started vocal training? How was your voice at first? What was the method? Who was your vocal teacher? How does one learn the low larynx technique? My understanding is that one needs to take a deep breath which opens the throat and lowers the larynx. Now the question is how to sing with such a position?
I agree with keeping the tongue forward, which works towards keeping your larynx down. It also promotes better vowel production and a "rounder" warmer sound rather than a wide vowels that are very unattractive.
I’m playing Willy Wonka in a school show and I have to sing Pure Imagination and it’s so high and has basically EE in every verse. Thank you for the help!
I was taught to start to understand the "Ee" vowel by beginning with the vowel sound of "eh" (get) or "ih" (bit). Most singers ball their tongue up in the middle with their "Ee", which pulls the larynx up and closes the throat. With the "eh" the tongue is forward and flatter and the larynx lower or more neutral. Then you shape the "eh" into "Ee" by slighting rising the back of the tongue. This keeps the throat open. I am not a fan of modifying "Ee" toward "ay" as it can be done without it.
Maestro, I've been lately meditating about covering, and a phrase dominates all this thinking "you shouldn't open your voice, neither close it". Trying to maintain consciously almost same position of throat and mouth, I feel much better the change of resonance during pasaggio and higher and also the amount of pressure that has to be done by diaphragm, which I was trying to do solve by opening or modification of the vowel. I think I'm on track!
dear maestro i have a question please help i have mastered my tone im singing high notes with resonance its free and really easy to produce but i have one problem i do it with not so widely open mouth me jaw tongue digastric muscle are relaxed but when i open my mouth widely my digastric muscle starts tensing an when i sing it really gets tired can you help me ?
quelle technique Maestro !!! et une voix si metallique! donneriez vous des cours via skype?? i thank you in advance for the ansswer I thought i was Dramatic tenor but recently a professionnal singer told me that i was Spinto very intense. I love Laury volpi and Corelli bonisolli and Tamagno and all the tenor from the past thx for the answer
I am lyrico spinto but my larynx cannot withstand the power of appogio and raises, if i try to keep it low I have not sufficient power to pass the passagio easily and reach b flat or high c .how to solve it? If i try un aura amorosa which is for my voice killing tessitura, to try practicing lower larynx i cannot even reach the end😢😅😂
Actually the cool thing about learning better positioning of vowel is release (no gripping feeling), so you would be able to even close your mouth a bit for a CCM styles. One should feel the work of soft pallet, I mean If you dont feel that it helps, then you project in a wrong way. If you do it right you can bring it as high as other vowels. Concentrate on release feeling and record yourself, sometimes we are fooled by our inner hearing.
I do not agree with you about Pavarotti, check out his live versions in the correct key in 1968 Vienna abd at tge Met and he has an excellent sustained Ee vowel at the end of the Trovatore aria... in both. Both High C's.. His singing as a youngster was exemplary.
+Hubert Gocal Records Pressure in the tongue and jaw, not very ideal but for a high c you tend to forgive a few imperfections. Of course ideally there shouldn't be a lot of movement.
Its because of the air pressure when singing full high notes. If he does it correctly his mouth will not move voluntarily but because of the powerful vibrations. You do sometimes see people "faking" this because they think it is part of a singing technique but is a result of NOT part of it.
Try to add a slight n before the ee vowel youre trying to hit. For example: Waving Through a Window from Dear Evan Hansen. "Is anybody waving" on a high Bb, would be N-is anybody waving. This will soften the glottal attack and should ease into the note more comfortably :)
I would like you to talk about Kraus Techinque You can look at two or three videos of him talking about singing techinque: Masterclass Alfredo Kraus Alfredo Kraus - Master Class em Roma Alfredo Kraus habla de técnica vocal - IMPERDIBLE
how come sir all these tenors at the met cant reproduce the high c Mario lanza did in the final note of the song be my love even mr Bocelli on his cinema album attempted but it was not hit
the tenor voice in a way is unnatural it is in some respects manufactured by techniques and vocal placement this is almost a direct quote from Luciano Pavarotti ! so some days you wake up with the voice a little more heavier more baritone like when that happens yes transposition is used 1
John Musalo I was surprised when I checked some performances on RUclips, how most of the take it down to B. In my opinion pretty much all professional opera tenors can sing a top C (indeed most can go higher in exercises), but as I say, my guess is they are just a bit more comfortable with a B for such a fortissimo note, and it avoids them getting vocally tired
Maybe it actually has to do with the Verdi tuning that has been abandoned.... Not the key....maybe it would be comfortable for most of the proffesional tenors to sing di quella pira in the original key if the tuning was as Verdi wanted and composed for.
I think the Ee vowel is hard if you have a tendency to close the throat. The Aa and Oo vowel can be hard if your problem is cord-closure. Your high C sounded great!
Samuel Karlberg I have a problem with glottal attack haha my “ ee “ is always with a glottal attack I’m tired of tcar sound Gaga
This was super helpful since beginning to sing I drove my teacher crazy because I always was determined to sing in original key (probably because as a pianist I worked hard to be able to play in all keys but would try to respect the composers choice of key.
Now that I am approaching my first full year of vocal training I am now much more open to learning low voice repertoire and even adjusting the key of songs to fit my range for as you say the beauty of the voice is now more important than the pride
I love how you articulated and expressed the positions of both sides
instaBlaster
Exercising dark vowels like oo oh aw. Nilsson stated in her biography that Hislop taught here the squillo element, but another teacher by working on the deep vowels gave here the connection.
My(tenor) experience has been that working from C3 to about C4 with dark vowels, they open your throat and train the larynx to stay low whilst singing.
When I was younger I literally found it inpossible to sing a proper 'Ee' vowel in or above the passaggio. I'll be 30 in about 2 months and I've just recently, within the past 6 months, started figuring out how to sing the Ee vowel on my higher notes.
It's a shame I didn't find this channel sooner. I have a very strong bass, but anything above that is troubling for me. You've helped me expand that range a bit, and made my voice sound much greater than it once was before. Thank you so much!
Huh? If you're a bass why not concentrate on being a good bass, rather than trying to sing 'above that' ?
+orlando098 why isn't it okay for any singer to want to expand his or her own vocal range?
Taylor Rosser Nothing, I just meant that if you're a bass, that's a voice type, and you can work on your high notes, but you can't turn into a tenor if you're not one. And it's OK (ie. pretty normal) if you can't sing well above an F or whatever
+orlando098 oh okay, well that's understandable. I'm a tenor, and while I can go into a lower range, I begin to struggle to hit bass notes.
When singing the vowel 'e' above the tenor F, I was taught to sing it on the vowel 'ah' then closing my mouth a bit which makes it finish on a sound like an 'e'. It is a cheat but the mind only registers the last vowel sounded and if it was an 'e' the impression is that the entire note was the 'e'. The challenge with the 'e' in the upper range is to not let the upper larynx collapse with an accompanying lifting of the back of the tongue.
Marvelous. I'm so grateful for the work you put into these...they are extremely helpful and informative. Thank you *very* much.
I want neighbours like you, my society is dead nobody is into any type of art, all are just surviving zombies. I want artistic people. I feel so shy singing all alone :/
Richa Sharma Boy, I know how you feel
Richa Sharma same situation with me :C
I think Mr. Tenelli makes a good point - don't raise the larynx or close the throat to sing an ee vowel. I have just watched two videos of Pavarotti singing alarmi, and he sings 3 syllables....I'm pretty sure he says the mee at the end...not sure where he doesn't (at least in youtube).
I'm kind of curious if a covered/compressed "EE" is somewhat helped by adding a bit of twang to it with the zygomatic muscles raised. That would help brighten it up a bit and add a good amount of volume.
The choice of how you choose to pronounce it (flat tongue with high back) probably has a lot to do with how comfortable the note you're singing is and whether you're a baritone or a tenor. It seems that a tenor would have less problems with pure closed vowels because the note is already in their comfortable part of their range. It would also be interesting to explore the options available to singers with TMJ, given that it affects the proper allignment and closure of the jaw.
***** Update: It's been awhile, but I now have trained enough to sing the "EE" as an "AH". Still, my prefered modification is "IH" in curbing with the tongue in the middle somewhere and my cheekbones raised.
Maestro what are your opinions of correct tongue placement should it naturally rise as in ng position with the ee vowel and should the tongue have the same arched position in the vowels ah and oh ? because I have been told that my tongue need to be in the same position when singing these vowels as ng with the sides of the tongue touching the upper teeth which to me seems impossible unless you have extraordinary big tongue otherwise the sound will be woofy and will not project with a limited range of the higher notes However I find it extremely difficult to maintain this tongue position when singing oh and ah it is true the sound comes out less dark and more space but I cannot accomplish this unless I push against my tongue and resist the force of the fingers with the tongue and I am getting a nice ring to the higher notes without the tongue being in this arched ng position on the oh vowels anyway it is all very confusing one person say smile the other say ng tongue position and my body say it not like yes it feels freer to have more space at back of throat but I just would love to know how to achieve ng position of tongue while singing in ah or oh vowels without forcing the tongue there
Dear Mr Tenelli. First of all thanks for all of your efforts in making these videos.
There is one thing I would like to learn from you. How was your voice built? How old were you when you started vocal training? How was your voice at first? What was the method?
Who was your vocal teacher?
How does one learn the low larynx technique? My understanding is that one needs to take a deep breath which opens the throat and lowers the larynx. Now the question is how to sing with such a position?
That intro though. So cool 😍
Brilllllllllliant video, this would take me so long time to appreciate on my own!
Thanks for sharing!
you have a glorious voice!!
R.Alagna mentioned in one or two interviews that "Italian only think they can sing". I guess Italian audience had their revenge
I agree with keeping the tongue forward, which works towards keeping your larynx down. It also promotes better vowel production and a "rounder" warmer sound rather than a wide vowels that are very unattractive.
I’m playing Willy Wonka in a school show and I have to sing Pure Imagination and it’s so high and has basically EE in every verse. Thank you for the help!
I was taught to start to understand the "Ee" vowel by beginning with the vowel sound of "eh" (get) or "ih" (bit).
Most singers ball their tongue up in the middle with their "Ee", which pulls the larynx up and closes the throat. With the "eh" the tongue is forward and flatter and the larynx lower or more neutral. Then you shape the "eh" into "Ee" by slighting rising the back of the tongue. This keeps the throat open. I am not a fan of modifying "Ee" toward "ay" as it can be done without it.
Maestro, I've been lately meditating about covering, and a phrase dominates all this thinking "you shouldn't open your voice, neither close it". Trying to maintain consciously almost same position of throat and mouth, I feel much better the change of resonance during pasaggio and higher and also the amount of pressure that has to be done by diaphragm, which I was trying to do solve by opening or modification of the vowel. I think I'm on track!
dear maestro i have a question please help i have mastered my tone im singing high notes with resonance its free and really easy to produce but i have one problem i do it with not so widely open mouth me jaw tongue digastric muscle are relaxed but when i open my mouth widely my digastric muscle starts tensing an when i sing it really gets tired can you help me ?
quelle technique Maestro !!! et une voix si metallique!
donneriez vous des cours via skype??
i thank you in advance for the ansswer
I thought i was Dramatic tenor but recently a professionnal singer told me that i was Spinto very intense.
I love Laury volpi and Corelli bonisolli and Tamagno and all the tenor from the past thx for the answer
I am lyrico spinto but my larynx cannot withstand the power of appogio and raises, if i try to keep it low I have not sufficient power to pass the passagio easily and reach b flat or high c
.how to solve it? If i try un aura amorosa which is for my voice killing tessitura, to try practicing lower larynx i cannot even reach the end😢😅😂
Can you even take it up to high D♭ and high D on an operatic Ee, Eh, or Ah vowel? Or just high B and high C only?
Actually the cool thing about learning better positioning of vowel is release (no gripping feeling), so you would be able to even close your mouth a bit for a CCM styles. One should feel the work of soft pallet, I mean If you dont feel that it helps, then you project in a wrong way. If you do it right you can bring it as high as other vowels. Concentrate on release feeling and record yourself, sometimes we are fooled by our inner hearing.
Rip Maestro😢
I don't think he's singing ee
It's more like a compressed eh
The root or base of the ee sound
is. "uh"
I do not agree with you about Pavarotti, check out his live versions in the correct key in 1968 Vienna abd at tge Met and he has an excellent sustained Ee vowel at the end of the Trovatore aria... in both. Both High C's.. His singing as a youngster was exemplary.
Wow, excellent voice like Pavarotti
5:06
Its not a first time when I see "moving jaw" in pro singers. Can you explain me why does it move?
+Hubert Gocal Records Pressure in the tongue and jaw, not very ideal but for a high c you tend to forgive a few imperfections. Of course ideally there shouldn't be a lot of movement.
Its connected to his vibrato.... Not every singer has... But it can show bad technique and make your voice sound a little wobbly if not controlled
Its because of the air pressure when singing full high notes. If he does it correctly his mouth will not move voluntarily but because of the powerful vibrations. You do sometimes see people "faking" this because they think it is part of a singing technique but is a result of NOT part of it.
ty very much!!!!!!!!!
How can you eradicate glottal attack on vowels especially my “ee”
Try to add a slight n before the ee vowel youre trying to hit. For example: Waving Through a Window from Dear Evan Hansen. "Is anybody waving" on a high Bb, would be N-is anybody waving. This will soften the glottal attack and should ease into the note more comfortably :)
Good for you:)
Wow !!!
I would like you to talk about Kraus Techinque
You can look at two or three videos of him talking about singing techinque:
Masterclass Alfredo Kraus
Alfredo Kraus - Master Class em Roma
Alfredo Kraus habla de técnica vocal - IMPERDIBLE
First he cannot demonstrate how to sing to his students. He just sings "Sal sal sal"
Second he sings in nasal which is wrong it could ruin clarity
how come sir all these tenors at the met cant reproduce the high c Mario lanza did in the final note of the song be my love even mr Bocelli on his cinema album attempted but it was not hit
I'm sure they can, but I guess they transpose down for Di quella pira because the last note has to be so loud and sustained?
the tenor voice in a way is unnatural it is in some respects manufactured by techniques and vocal placement this is almost a direct quote from Luciano Pavarotti ! so some days you wake up with the voice a little more heavier more baritone like when that happens yes transposition is used 1
John Musalo I was surprised when I checked some performances on RUclips, how most of the take it down to B. In my opinion pretty much all professional opera tenors can sing a top C (indeed most can go higher in exercises), but as I say, my guess is they are just a bit more comfortable with a B for such a fortissimo note, and it avoids them getting vocally tired
Maybe it actually has to do with the Verdi tuning that has been abandoned.... Not the key....maybe it would be comfortable for most of the proffesional tenors to sing di quella pira in the original key if the tuning was as Verdi wanted and composed for.
This is not related to your videos (I think you're great), but when I close my eyes, you sound like Christopher Walken when you speak.
ha! I've thought that for years.
Must be fun to be his neighbour!
Куда пропал преподаватель вокала? Что случилось?
well, I said he almost never:) I agree that a s a youngster he was at his prime
Hello maestro
I really want to meet you
Could you please let me know your email address?
Ee [i] is way easier for me than ah [a] actually. I struggle so much with a
Bt 'a is easier bt I have a problem in I
U E etc. What to do sir😭😭
my good friend Ramon Rabaza says hello friend