Thank you very much indeed for this master class, Jose. I think you are a great singer and teacher. You really impress me with your talent in both activities. I think you don't really know how helping this material is for those like me who want to inprove our singing. You are extremely generous.
He is 100% correct and this is very useful but the problem is that the "thinner" voice doesn´t please everyone. I´m a big rock music fan and I don´t care if Adam Lambert can reach D5s because he does it with a female voice. I rather listen to Kurt Cobain hitting Bb4s on "Where did you sleep last night" with a raspy aggressive voice. I know it´s not as healthy but I don´t care, it sounds too good. Music has no rules
This is makes a lot of sense. Trying to teach someone to sing must be like trying to teach someone how to whistle x100. You have a skill in breaking down this complexity that I really appreciate. Thank you!
...thanks so much dear José for recalling these important rules... ...absolutely necessary to revisit... ...warm greetings from Santiago de Chile, Downtown, almost entering the marvelous South Hemisphere Spring... 💖💖🎶🎵🎶🎼🎶🎵🎶💖💖
I love how you broke down the stretching and thinning of vocal cords. It makes so much sense! The comparison between falsetto and full voice really clicked for me! It’s amazing how little tension is actually needed to get that full sound.
I'm 68 y/o now but when I was 20 I had been having voice lessons long enough that I actually reached the ability to blend chest voice with the falsetto voice. About then, due to circumstances beyond my control I left college and singing for many decades. Now I'm inspired by this video to work toward achieving this ability again. Thanks Jose!!! I'm gonna watch this video over and over for a while as I begin to rebuild my ability to sing. Thanks for the inspiration!!!
Great advice, complimenti! I studied with Maestro Angelo LOFORESE, Roberto COVIELLO, Nicolai GEDDA, Gina CIGNA, Eugenio FOGLIATI, Rita PATANÈ, Jaime ARAGALL and Montserrat CABALLÉ and that's exactly what they did!!♡♡♡
Really liked this recommendation video. Thanks. Will save to play again. Clearly I'm not a (natural) tenor, but maybe with this I might be able to extend that far.
This is a beautiful explanation! I grunted my high notes and they rewarded me with a highly pressured sound. It cost me dearly in practice and in performance. After finding your videos, I have used this technique and have received great results. Breaking old habits is hard, but singing healthy is worth it. Thank you!
Dear Jose, you’re video’s helped me a lotto discover freedom and acceptance of my voice and understanding what is still ok. It actually widened my spectrum instead of narrowing, just by allowing “lesser beautiful” tones. I would love to hear some advises to approach the stacatto and coloratura.
Thank you for this lovely presented and focused teaching session. I dabble singing-wise in conceptually different realm (non-classical), but this video gives me a clear idea to target for and also exercises to start going towards that kind of beautiful singing. Especially the way you demonstrated going from falsetto to proper chord closure was helpful; also making a siren of u-vowel from bottom to top helps.
I started classical training at 17 as a tenor and was switched to a baritone due to my high/mid range being strained, my teacher said 'let your voice do what it wants to do' and only now do I understand, I make no distinction between my chest or falsetto, I sing in both with the same relaxation and coordination and I sing much better and actually make use of my full range, DONT be afraid of singing in 'falsetto' or with a feminine sound, it takes a lot of weight and effort out of the voice and once you've built that up it sounds very full and resonant
Bravo and thank you. I hope tenors still in the pursuit of achieving a career singing listen and work with this because it is golden🎉🎉. I wish I was taught this way when I was young. Any gigs near Tennessee for you in the future?
Another great video. I am high baritone and i could sing easily high b flat and i also hit b natural in full voice, high c tends to switch into reinforced falsetto or some other register (feels differently) anyway i had one lesson with Jack Livigni and he told me that i could develop into helden tenor so i will train my high register in this way (and also apply the chiaro scuro) , thanks a lot!
I'm too. A high baritone and with this exercise I can get connected D or even Eb above tenor high C. But with other vowels (i, e, and u) the voice tends to overdo the cord closure, especially in the region between Eb and F# (bellow high C). I tend to overdo the "Copertura" or the reverse: singing much open. With falsetto and a sopranist type of high falsetto (some call flageolet, something between falsetto and whistle register) I can reach soprano high C.
I now why I stuggle to sing , I always got a high voice and got humiliated so many times I've ended up creating a persona and a new voice to cover my real voice , I also ended up hating this voice that got me in trouble. For almost each sound I get into the way but I need to trainmyself to accept my real voice.
Здорово, как вы с резинкой это показываете, да и вообще все очень понятно , я сам востановил свой голос весь диапазон и был период когда моим педагогом была резинка, она мне очень здорово помогла, почувствовать позицию, хотел бы я с вами позаниматься, певцу всегда рядом нужно ухо которое услышет именно твою индивидуальность и поможет ее раскрыть наилучшим для тебя образом, педагог помогает,только певец знает удобно ему или нет, педагог слышит следствие всего вместе взятого учеником, у ученика всегда должен быть поиск своих ощущений, спасибо за ваше замечательное видео.
Wow! Clear explanation!! Is this approach only for TENORs and OPERA singers? What is the main difference btw traditonal and contemporary? Is what you are doing can be called also as twang? Thanks!
I'm having a tough time finding balance. I can carry head voice up to an F-F#, but I'm struggling to find the balance around A4. My background is belting, and while I can carry a hefty sound to A-Bb, it tires me out, and I lose speech level volume.
Hi! Thank you for this video. A vocal coach on youtube said that Sting mostly sings in "reinforced head voice". Is it the same principle as "reinforced falsetto" but on a lower register? Are both "reinforced head voice" and "reinforced falsetto" part of the "mixed voice"? I'm lost...
Hi Jose, for the closure of the vocal folds, in addition to the "colpo di glottide" , I have heard of the vocal fry, for the closure of the vocal fords, keep the sensation of the vocal fry on rule n°1, is that right? I can do the rule n° 1 very well, but the rule n°2 doesn't work, despite the colpo di glottide, I can't get into full voice. does the airflow change when you go from falsetto to adducted vocal folds?or is it just a movement of the vocal folds with the same airflow? thank you so much for this great video.
I think there is no other video on the internet with such good examples of how to actualy get to singing high notes... You are verry kind to share these things to us... I hope one day that i can come to one of your concerts!!! Here in Romania... This type of singing is kinda hard to expose due to people just having a lack of likeness in art, generaly speaking... Other than the opera and 2 more places that kinda dont need more people( they are not big oprtinities ) u have nothing else... People reather pay for troglodyte music and i mean it when i say it... I dont say things for the sake of being offensive but to just serve justice to a cause that has made me suffer ( one of the reasons) over the years... Living here is really taugh... Cant even afford a micc to start recording myself !!!
Is it safe to assume that the highest falsetto note I can sing cleanly can also be reached with a full voice given proper development of technique through exercises such at this? I get frustrated with how limited my head voice seems to be - almost as if I don't have one, going directly from chest voice to falsetto. My falsetto goes up to a respectable pitch but I avoid using it since it sounds thin and silly. I call it the Monty Python voice.
Very interesting video! Do you recommend then sighing into the falsetto to achieve the light cord closure? It sounded like you were doing a kind of ugh or huh to close the cords?
@@flaze3 I recommend using the sign and falsetto as a tool to feel the sensation of stretching and thinning the vocal cords. Singing in falsetto in the open throat position (the onset) larynx low but free and palate raised. Like if you were going to sing in full voice except you do so in falsetto. Once that sensation has been practiced then lightly adding cord closure (pizzico della laringe) without overdoing it and getting too muscularly tense so you don’t lose the sensation of the stretching and thinning you had when doing it in falsetto. It takes quite a few tries to get the coordination and balance right but when you breach both works you can sing in full voice but stay in the effortless world of falsetto.
Great video as always Jose! You got any tips for falsetto? I realized that maybe that is my problem - I'm a tenor but I really, really struggle in high notes and feel super tense - even in falsetto the sounds are so weak and I encounter the same roadblock as trying to 'push' the voice. Basically I can't sing falsetto o.o
@@BandoGS first take a deep breath and remember to always prepare the onset before you sing, lift the soft palate and lower the larynx keeping it free. That immediately puts you in a head dominant place for the voice. We do this naturally when we yawn or sigh. Use that space you’ve just created to sing in falsetto, which has very little subglottic pressure because it doesn’t have much cord closure, since it doesn’t have subglottic pressure the sound should feel quite easy to sing and may even have a breathy quality at first, if it still doesn’t feel relaxed then there’s a lot of muscle tension involved in your phonation process. I would say then don’t worry about high notes yet, practice exercises in humming, taking a deep breath and exhaling in a relaxed (mmmm) in head voice from middle c downwards kinda like a moan, or a sigh, also sighing or speaking in the yawn position as if you’re extremely sleepy, and getting used to stretching and thinning the cords all in falsetto in a very soothing manner. Also the vocal crack exercise I mention in my other video which helps to feel up any laryngeal compression. Then little by little work yourself up, trying the u vowel in falsetto. Most of us as men have a well developed chest voice because we use it and speak with it on a daily basis, but most of us never have to stretch and thin the cords very much on a day to day baséis and we don’t develop the falsetto voice which also needs time and training to grow. That’s perhaps why yours feel weak, and it’s ok for it to feel light and soft, that’s the point at first. Phonation without any tension or pressure. Once you worked up to a reinforced falsetto then you can continue to develop the coordination of applying cord closure but staying in that falsetto sensation. But never go towards the temptation of pushing, forcing, and tensing to “hit” a note. If ever you get that sensation do the opposite, sigh your way through it, and keep everything elastic, flexible, vibrating on every note to keep the sound free, no straight tone, and keeping that larynx jiggling and free. 👍
I have to increase the amount of air on every note higher in falsetto and as I get to E5 the pain on the vocal chords from all the air going through them becomes unbearable. What can I do?
@@CreatingMyOwnHistory it’s probably that you’re closing the cords too muscular and tensely. It’s not the air going through them I would assume it’s the muscular tension in keeping the cords shut and the subglottic pressure being built at the bottom. I would say firstly don’t do anything that causes pain, secondly don’t go so high. Built the coordination of stretching and thinning the cords from a comfortable low note to about F4 really allowing the voice to be in the “tilt” position, which is the same as being in the “sigh” or the “yawn” or the “snarl” it can’t be in the position of how you just speak normally. Get used to speaking gently in the “sigh” doing slides up and down from low to middle voice, if there’s still too much pressure go to falsetto and let it be breathy for now, it’s ok, remove the vocal cord closure aspect of it just for now so there isn’t that much subglottic pressure which can tire you if done incorrectly. Let the cords be loose the sound breathy, and try moving your neck gently side to side (left to right) to fight the temptation of your body tensing and clenching on your neck as you slide up very relaxed and slide down very relaxed. Try that in an “u” vowel, like an owl, full of space internally, and stretch up and down gently with that vowel. If it feels more relaxed in falsetto, then add vibrato still in falsetto, gradually work this way until you can close the cords in a way that doesn’t take you out of the “tilt/Sigh” position and feels quite similar to the sensation when doing it in falsetto, but now you’ll be in full voice. If you get it from low comfortable note to F4 then start working yourself up the same way whole step by whole step, using the sensation of falsetto as a guide and reference point to not give too much muscular tension and start forcing the sound. Take care of your cords.👍
@@marce190689 keep working on rule 1 and releasing muscular tension, sighing in falsetto on an u vowel, making sure your onset is prepared with your larynx low and free. Fight any impulse to tug or reach for a note. Sometimes applying the vocal crack exercise to this, which I explain in another video, helps because with laryngeal freedom and movement the body just doesn’t have time to hold tense in comparison to when we just try to sing and hold a note. It’s easier to tense there.
@@Tenor_Simerilla Thank you for taking the time and give an answer!!! I am already training with a professional teacher and making progress...but sometimes it´s really frustrating...I will keep giving my best and trust on the process :) Thanks for your videos! you are awesome! Love u
@@MrPanzosgr high notes were always tough for me because I didn’t allow the process of the cords stretching and thinning and initiating the attack in a sigh. So I had to practice and train, wasn’t born with it…that would’ve been nice
@@Tenor_Simerilla so by training everyday the vocal range become bigger.?i send u email aswell if u check it pls let me know and tnx you for what u done to us
your rules are good and the sound you archive is also very nice but the rules cant be applied to all fachs of tenor voices cause in lots of cases the sound is too thin and non resonant and has no brassiness in it and is also very quiet. For light tenors it will work perfectly but not for helden or dramatic tenors where weight,fullness and brassiness is needed and also volume! But your rules are a nice concept that sound good
Be careful of stretching your neck keep same good posture the whole time. The stretch is inside, would you agree coach. This was something my teacher caught me doing.
Using cord closure can be a bit irritating if one imagines it is tantamount to fully closed chords, in which case it wouldn't be possible to produce a tone at all. Wouldn't it be better to talk about bringing the chords closely together to a minimum distance where the air can still pass through? What's your thoughts about that, Jose?
Right, when I say cord closure in all my videos that is what I mean. Optimal closure of the cords where air can still pass through, to produce a clear tone connected to the full voice when singing. Not squeezing shut the cords like a sphincter where no air can pass through. No air passing through = no tone. Just a tiny bit of air passing through squeezed cords = Grunt Lots of air passing through loose cords = Breathy tone (falsetto like). A pressurized stream of air passing through a narrow opening of the cords in which they are not tense but also not loose = correct cord closure. I thought this may have been clear when I was talking about cord closure in singing but perhaps I will clarify in the next video.
@@Tenor_Simerilla Thanks for the quick reaction. I just thought it needed to be clarified as almost everyone talking about singing uses the term without a more precise explanation. With it, any misunderstandings are nipped in the bud. Keep up your good work (and singing, of course😄)
@@ilecier My understanding is that the vocal folds do come together (i.e. close) and then open again repetitively, at the frequency of the note - they vibrate a bit like the lips of a trumpeter. So good closure means bringing the cords together to the point of most efficient phonation.
@@timjbarnes Your last sentence nails it. And of course the folds close - but not in the moment you're producing a tone, ie singing. Because if it is closed, it's closed and nothing gets through😄
![Lethal Company Music Video 🎵 "Follow The Orders" [VERSION A]](http://i.ytimg.com/vi/QeooZB4Z7RA/mqdefault.jpg)
Well look who's here, my favorite tenor in the internet
Thank you very much indeed for this master class, Jose. I think you are a great singer and teacher. You really impress me with your talent in both activities. I think you don't really know how helping this material is for those like me who want to inprove our singing. You are extremely generous.
What a Heart of gold you have to be sharing your process and knowledge with us!
Really appreciate how you acknowledge the value of falsetto exercises in finding proper vocal placement. Falsetto is an incredibly useful tool.
He is 100% correct and this is very useful but the problem is that the "thinner" voice doesn´t please everyone. I´m a big rock music fan and I don´t care if Adam Lambert can reach D5s because he does it with a female voice. I rather listen to Kurt Cobain hitting Bb4s on "Where did you sleep last night" with a raspy aggressive voice. I know it´s not as healthy but I don´t care, it sounds too good.
Music has no rules
@@George_C-e4v.........pop music has less rules than classical which has MANY rules which is what makes it HIGH art.
This is makes a lot of sense. Trying to teach someone to sing must be like trying to teach someone how to whistle x100. You have a skill in breaking down this complexity that I really appreciate. Thank you!
This channel is a treasure trove for tenors! Thank you for such generosity of sharing your bel canto knowledge!
My relationship with my voice has improved A LOT since I discovered your channel. I'm just an amateur singer, but it's been a lifesaver nonetheless!
you're propensity to keep learning is you're true talent as a singer.
Can't stop watching your videos, thank you!
The best technique. Grazie mille❤
...thanks so much dear José for recalling these important rules...
...absolutely necessary to revisit...
...warm greetings from Santiago de Chile, Downtown, almost entering the marvelous South Hemisphere Spring...
💖💖🎶🎵🎶🎼🎶🎵🎶💖💖
Pure gold! Many, many thanks! Most respectfully, a Bass-baritone
I love how you broke down the stretching and thinning of vocal cords. It makes so much sense! The comparison between falsetto and full voice really clicked for me! It’s amazing how little tension is actually needed to get that full sound.
I'm 68 y/o now but when I was 20 I had been having voice lessons long enough that I actually reached the ability to blend chest voice with the falsetto voice. About then, due to circumstances beyond my control I left college and singing for many decades. Now I'm inspired by this video to work toward achieving this ability again. Thanks Jose!!! I'm gonna watch this video over and over for a while as I begin to rebuild my ability to sing. Thanks for the inspiration!!!
Estupendo maestro. La mejor clase
Awesome, thanks for sharing!
Priceless 28 min 29 sec 😃👍
Thank you so much for sharing your gift of talent. We appreciate it so much. God Bless You 💕💕💕
Extremely generous of you
Great advice, complimenti! I studied with Maestro Angelo LOFORESE, Roberto COVIELLO, Nicolai GEDDA, Gina CIGNA, Eugenio FOGLIATI, Rita PATANÈ, Jaime ARAGALL and Montserrat CABALLÉ and that's exactly what they did!!♡♡♡
This is gold!!!!
Thank you for this video! I have been struck/struggling for over a year, and guess what I just found out I can't yet do. Thank you!
Thank you for posting this video !
Excellent Instruction.
EXTREMELY helpful, thank you
Really liked this recommendation video. Thanks. Will save to play again. Clearly I'm not a (natural) tenor, but maybe with this I might be able to extend that far.
This is a beautiful explanation! I grunted my high notes and they rewarded me with a highly pressured sound. It cost me dearly in practice and in performance. After finding your videos, I have used this technique and have received great results. Breaking old habits is hard, but singing healthy is worth it. Thank you!
I've been doing this kind of singing but I don't know how I did it. I'm so glad I found your video. Thank you. You gain another subscriber.
Dear Jose, you’re video’s helped me a lotto discover freedom and acceptance of my voice and understanding what is still ok. It actually widened my spectrum instead of narrowing, just by allowing “lesser beautiful” tones. I would love to hear some advises to approach the stacatto and coloratura.
Thank you for this lovely presented and focused teaching session. I dabble singing-wise in conceptually different realm (non-classical), but this video gives me a clear idea to target for and also exercises to start going towards that kind of beautiful singing.
Especially the way you demonstrated going from falsetto to proper chord closure was helpful; also making a siren of u-vowel from bottom to top helps.
@@egaga- 🙏❤️ Thank you for the support
Hey José, I tried it, and my voice felt so free and relaxed! You've taught me so much. I'm so thankful and grateful to you. Thank you! 🥹🙏
I really like this approach!
I started classical training at 17 as a tenor and was switched to a baritone due to my high/mid range being strained, my teacher said 'let your voice do what it wants to do' and only now do I understand, I make no distinction between my chest or falsetto, I sing in both with the same relaxation and coordination and I sing much better and actually make use of my full range, DONT be afraid of singing in 'falsetto' or with a feminine sound, it takes a lot of weight and effort out of the voice and once you've built that up it sounds very full and resonant
Muchas gracias, estos videos me han ayudado mucho 👍🏼
Is having a breathy falsetto an indication of the aforementioned problem? Thanks and great videos.
Bravo and thank you. I hope tenors still in the pursuit of achieving a career singing listen and work with this because it is golden🎉🎉. I wish I was taught this way when I was young. Any gigs near Tennessee for you in the future?
Very appreciative
Another great video. I am high baritone and i could sing easily high b flat and i also hit b natural in full voice, high c tends to switch into reinforced falsetto or some other register (feels differently) anyway i had one lesson with Jack Livigni and he told me that i could develop into helden tenor so i will train my high register in this way (and also apply the chiaro scuro) , thanks a lot!
I'm too. A high baritone and with this exercise I can get connected D or even Eb above tenor high C. But with other vowels (i, e, and u) the voice tends to overdo the cord closure, especially in the region between Eb and F# (bellow high C). I tend to overdo the "Copertura" or the reverse: singing much open. With falsetto and a sopranist type of high falsetto (some call flageolet, something between falsetto and whistle register) I can reach soprano high C.
Very impactful sir 😊❤
I now why I stuggle to sing , I always got a high voice and got humiliated so many times I've ended up creating a persona and a new voice to cover my real voice , I also ended up hating this voice that got me in trouble. For almost each sound I get into the way but I need to trainmyself to accept my real voice.
Здорово, как вы с резинкой это показываете, да и вообще все очень понятно , я сам востановил свой голос весь диапазон и был период когда моим педагогом была резинка, она мне очень здорово помогла, почувствовать позицию, хотел бы я с вами позаниматься, певцу всегда рядом нужно ухо которое услышет именно твою индивидуальность и поможет ее раскрыть наилучшим для тебя образом, педагог помогает,только певец знает удобно ему или нет, педагог слышит следствие всего вместе взятого учеником, у ученика всегда должен быть поиск своих ощущений, спасибо за ваше замечательное видео.
Thanks!
@@thecomediangee 🙏❤️
Teşekkürler.❣️🙏
❤thx kindly
Wow! Clear explanation!! Is this approach only for TENORs and OPERA singers? What is the main difference btw traditonal and contemporary? Is what you are doing can be called also as twang? Thanks!
This video is really great ! 21:19 I think that I do these mistakes !
I'm having a tough time finding balance. I can carry head voice up to an F-F#, but I'm struggling to find the balance around A4.
My background is belting, and while I can carry a hefty sound to A-Bb, it tires me out, and I lose speech level volume.
Bravo
Hi! Thank you for this video.
A vocal coach on youtube said that Sting mostly sings in "reinforced head voice".
Is it the same principle as "reinforced falsetto" but on a lower register?
Are both "reinforced head voice" and "reinforced falsetto" part of the "mixed voice"?
I'm lost...
Hi Jose, for the closure of the vocal folds, in addition to the "colpo di glottide" , I have heard of the vocal fry, for the closure of the vocal fords, keep the sensation of the vocal fry on rule n°1, is that right? I can do the rule n° 1 very well, but the rule n°2 doesn't work, despite the colpo di glottide, I can't get into full voice. does the airflow change when you go from falsetto to adducted vocal folds?or is it just a movement of the vocal folds with the same airflow? thank you so much for this great video.
I think there is no other video on the internet with such good examples of how to actualy get to singing high notes... You are verry kind to share these things to us... I hope one day that i can come to one of your concerts!!! Here in Romania... This type of singing is kinda hard to expose due to people just having a lack of likeness in art, generaly speaking... Other than the opera and 2 more places that kinda dont need more people( they are not big oprtinities ) u have nothing else... People reather pay for troglodyte music and i mean it when i say it... I dont say things for the sake of being offensive but to just serve justice to a cause that has made me suffer ( one of the reasons) over the years... Living here is really taugh... Cant even afford a micc to start recording myself !!!
Is it safe to assume that the highest falsetto note I can sing cleanly can also be reached with a full voice given proper development of technique through exercises such at this? I get frustrated with how limited my head voice seems to be - almost as if I don't have one, going directly from chest voice to falsetto. My falsetto goes up to a respectable pitch but I avoid using it since it sounds thin and silly. I call it the Monty Python voice.
Very interesting video! Do you recommend then sighing into the falsetto to achieve the light cord closure? It sounded like you were doing a kind of ugh or huh to close the cords?
@@flaze3 I recommend using the sign and falsetto as a tool to feel the sensation of stretching and thinning the vocal cords. Singing in falsetto in the open throat position (the onset) larynx low but free and palate raised. Like if you were going to sing in full voice except you do so in falsetto. Once that sensation has been practiced then lightly adding cord closure (pizzico della laringe) without overdoing it and getting too muscularly tense so you don’t lose the sensation of the stretching and thinning you had when doing it in falsetto. It takes quite a few tries to get the coordination and balance right but when you breach both works you can sing in full voice but stay in the effortless world of falsetto.
@@Tenor_Simerilla thanks! But this pizzico della laringe - Is there a good way to go about it? Like going to an "uh" kind of sound from the falsetto?
@13:00 I've actually been meaning to ask you your thoughts on forward placement. The ways it's been presented to me have been confusing.
@@TheeJordanRossi I’ll be making a video about it soon 👍
Great video as always Jose! You got any tips for falsetto? I realized that maybe that is my problem - I'm a tenor but I really, really struggle in high notes and feel super tense - even in falsetto the sounds are so weak and I encounter the same roadblock as trying to 'push' the voice. Basically I can't sing falsetto o.o
@@BandoGS first take a deep breath and remember to always prepare the onset before you sing, lift the soft palate and lower the larynx keeping it free. That immediately puts you in a head dominant place for the voice. We do this naturally when we yawn or sigh. Use that space you’ve just created to sing in falsetto, which has very little subglottic pressure because it doesn’t have much cord closure, since it doesn’t have subglottic pressure the sound should feel quite easy to sing and may even have a breathy quality at first, if it still doesn’t feel relaxed then there’s a lot of muscle tension involved in your phonation process. I would say then don’t worry about high notes yet, practice exercises in humming, taking a deep breath and exhaling in a relaxed (mmmm) in head voice from middle c downwards kinda like a moan, or a sigh, also sighing or speaking in the yawn position as if you’re extremely sleepy, and getting used to stretching and thinning the cords all in falsetto in a very soothing manner. Also the vocal crack exercise I mention in my other video which helps to feel up any laryngeal compression. Then little by little work yourself up, trying the u vowel in falsetto.
Most of us as men have a well developed chest voice because we use it and speak with it on a daily basis, but most of us never have to stretch and thin the cords very much on a day to day baséis and we don’t develop the falsetto voice which also needs time and training to grow. That’s perhaps why yours feel weak, and it’s ok for it to feel light and soft, that’s the point at first. Phonation without any tension or pressure. Once you worked up to a reinforced falsetto then you can continue to develop the coordination of applying cord closure but staying in that falsetto sensation. But never go towards the temptation of pushing, forcing, and tensing to “hit” a note. If ever you get that sensation do the opposite, sigh your way through it, and keep everything elastic, flexible, vibrating on every note to keep the sound free, no straight tone, and keeping that larynx jiggling and free. 👍
@@Tenor_Simerilla Thank you so much for taking time to write this. I already started practising! Take care and all the best for your career!
Remember “BELCANTO” is one word only.
I have to increase the amount of air on every note higher in falsetto and as I get to E5 the pain on the vocal chords from all the air going through them becomes unbearable. What can I do?
@@CreatingMyOwnHistory it’s probably that you’re closing the cords too muscular and tensely. It’s not the air going through them I would assume it’s the muscular tension in keeping the cords shut and the subglottic pressure being built at the bottom. I would say firstly don’t do anything that causes pain, secondly don’t go so high. Built the coordination of stretching and thinning the cords from a comfortable low note to about F4 really allowing the voice to be in the “tilt” position, which is the same as being in the “sigh” or the “yawn” or the “snarl” it can’t be in the position of how you just speak normally. Get used to speaking gently in the “sigh” doing slides up and down from low to middle voice, if there’s still too much pressure go to falsetto and let it be breathy for now, it’s ok, remove the vocal cord closure aspect of it just for now so there isn’t that much subglottic pressure which can tire you if done incorrectly. Let the cords be loose the sound breathy, and try moving your neck gently side to side (left to right) to fight the temptation of your body tensing and clenching on your neck as you slide up very relaxed and slide down very relaxed. Try that in an “u” vowel, like an owl, full of space internally, and stretch up and down gently with that vowel. If it feels more relaxed in falsetto, then add vibrato still in falsetto, gradually work this way until you can close the cords in a way that doesn’t take you out of the “tilt/Sigh” position and feels quite similar to the sensation when doing it in falsetto, but now you’ll be in full voice. If you get it from low comfortable note to F4 then start working yourself up the same way whole step by whole step, using the sensation of falsetto as a guide and reference point to not give too much muscular tension and start forcing the sound. Take care of your cords.👍
@@Tenor_SimerillaAre you accepting one on one lessons?
@@10jonchannel dm me
It seems to be so easy when you do it...but I´m still tense and struggling above G4. I´m not good on falsetto :(
@@marce190689 keep working on rule 1 and releasing muscular tension, sighing in falsetto on an u vowel, making sure your onset is prepared with your larynx low and free. Fight any impulse to tug or reach for a note. Sometimes applying the vocal crack exercise to this, which I explain in another video, helps because with laryngeal freedom and movement the body just doesn’t have time to hold tense in comparison to when we just try to sing and hold a note. It’s easier to tense there.
@@Tenor_Simerilla Thank you for taking the time and give an answer!!! I am already training with a professional teacher and making progress...but sometimes it´s really frustrating...I will keep giving my best and trust on the process :)
Thanks for your videos! you are awesome! Love u
if u do this everyday u can sing and higher thst before u couldnt reach or u just born with a vocal range?
@@MrPanzosgr high notes were always tough for me because I didn’t allow the process of the cords stretching and thinning and initiating the attack in a sigh. So I had to practice and train, wasn’t born with it…that would’ve been nice
@@Tenor_Simerilla so by training everyday the vocal range become bigger.?i send u email aswell if u check it pls let me know and tnx you for what u done to us
❤
your rules are good and the sound you archive is also very nice but the rules cant be applied to all fachs of tenor voices cause in lots of cases the sound is too thin and non resonant and has no brassiness in it and is also very quiet. For light tenors it will work perfectly but not for helden or dramatic tenors where weight,fullness and brassiness is needed and also volume! But your rules are a nice concept that sound good
How would you teach beginner female singers to actually use their body and breathe correctly?
🎶 💙
Be careful of stretching your neck keep same good posture the whole time. The stretch is inside, would you agree coach. This was something my teacher caught me doing.
@@MatthewThomas-ye1ei correct
Btw i'd like to have lesson with you, could we arrange that?
@@MultiHeXs email me at simerillastudios@gmail.com
Using cord closure can be a bit irritating if one imagines it is tantamount to fully closed chords, in which case it wouldn't be possible to produce a tone at all. Wouldn't it be better to talk about bringing the chords closely together to a minimum distance where the air can still pass through? What's your thoughts about that, Jose?
Right, when I say cord closure in all my videos that is what I mean. Optimal closure of the cords where air can still pass through, to produce a clear tone connected to the full voice when singing. Not squeezing shut the cords like a sphincter where no air can pass through.
No air passing through = no tone.
Just a tiny bit of air passing through squeezed cords = Grunt
Lots of air passing through loose cords = Breathy tone (falsetto like).
A pressurized stream of air passing through a narrow opening of the cords in which they are not tense but also not loose = correct cord closure.
I thought this may have been clear when I was talking about cord closure in singing but perhaps I will clarify in the next video.
@@Tenor_Simerilla Thanks for the quick reaction. I just thought it needed to be clarified as almost everyone talking about singing uses the term without a more precise explanation. With it, any misunderstandings are nipped in the bud. Keep up your good work (and singing, of course😄)
@@ilecier My understanding is that the vocal folds do come together (i.e. close) and then open again repetitively, at the frequency of the note - they vibrate a bit like the lips of a trumpeter. So good closure means bringing the cords together to the point of most efficient phonation.
@@timjbarnes correct 💯
@@timjbarnes Your last sentence nails it. And of course the folds close - but not in the moment you're producing a tone, ie singing. Because if it is closed, it's closed and nothing gets through😄
Me psssing people by as my man goes uuuuuooooooouuuu : 😮😮😅😅
@@deaddarkones1089 😂😂😂
Merci !
@@patrickbailet8574 merci! 🙏
No están los subtitulos en español 😢
@@yeisonsk8567 en 15 minutos ya los agrego
is there a way to not have the microphone so close to your voice? so it doesnt distort? Its all good otherwise.
Dinner anytime with me?
this all goes against the way John Lennon treated his voice. Paul McCartney always leaned into his voice and sounded better than John.
This is operatic singing, which desires a different sound. If you sing like a pop star in opera, you will ruin your voice with no sign of recovery.