Thank you for the video! That is gold information! When I decided to learn how to sing properly(1 year ago) I found out about Melocchi's method and Stanley's school. I decided to go deep into Stanley and got in touch with a teacher that knows how to break registers(chest and falsetto) . He also got the chance to meet Anthony Frissel when he was alive and learn with him and other teachers that teached breaking registers. Since I started to take classes with him it wasn't easy. Even today, 6 months after it 's still hard work. I had to get rid of my fake mixed voice, which was closer to my speaking voice and to get my tongue into a retraction position, like a frog sitting in my mouth. Took me almost 2 months to find the pure falsetto when breaking the registers, but it was worth every effort that I putted on it. Doing the exercises, I had and still have to keep my mouth in a full open position, so it doesn't influence my vowels. I also have to take care that my tongue doesn't come out of the retraction. But the results are from another world: My singing voice has more color, more tone, breath is released, even my speaking voice is not gripping in my throat and it has a lower pitch now. The best of all is that the coordination is starting to kick in! I try to practice at least 1 hour EVERYDAY only to build this technique and I still have so much work to do. When you say about how hard it is to work in the voice of your students, even knowing that you work with a good technique, I know what you mean by saying it. Keep going with your job and this channel, that's making the difference. P.s.: I would like to know where you got the cuts from the old video about the falsetto experiment on min 6:20 to 7:53.
This is a brilliant exposition of the falsetto voice and it's vital importance in creating a balanced and truly musical voice. I studied with one of Douglas Stanley's later students, and everything you show conforms to what I learned from him. Great work and undoubtedly lots of research. I only hope that this will impact those who are teaching the next generation of young singers who are being so badly led astray! Thank you!
I think a lot of young singers are off the right path. Knowing the right sounds. Listening to the great singers is the best first step. The problem with many younger people. They do not want to go through the hard work as needed. They try to get bits of information and put it together. It is the consistent long-term lessons and working that gets them there. The greatest of singers always worked. Always trained their voices to work better. I get disappointed with many students. I give them valuable information. I expect someone who wants to be a great singer to go away and bring it back perfected. Not many will do that. Only the pearls.
@@RadamesAida2Operalovers Yes, only the Pearls. You can often find me singing, humming, anywhere, anytime. No, I am not necessarily "happy," as they might presume. I am working! A great singer should at times appear to be just another pathological fool: singing, humming, rhythmatizing, in the strangest of places; knowing and becoming more intimate and confident with his voice and its capabilities.
Radames has been around a long time. He has few subscribers. He doesn't post often. But when he does, it's good stuff. That's why very early on I realized it was wise to be a subscriber to Radame's channel.
Very kind of you, my friend. I always value your opinion. You always have good judgement. I will try to post more often. I have a huge list of video ideas. Not short of that. They just take a lot of time to put together and edit. It gets a little overwhelming. It is easy to say things. But there are consequences to the things we say. I want to help not to harm and confuse. I say things multiple times in many ways to students and they still struggle. At least I have provided good explanations with audio examples. I think this is the best information on Falsetto anywhere. Online or in books. I missed a couple of little things. Intentionally. I think this is a fairly comprehensive description of Falsetto. I should have sung the falsetto myself. The student did an adequate job anyway. I'm a little too shy. Lol. :P. Though, my students think I talk too much. Hahaha. Thank you for watching. I wish more people see the value in the information I have provided.
@@RadamesAida2OperaloversThe reason for that is that his natural voice sat in the tessitura of a mezzo-soprano but yes it is essentially just a very high countertenor.
What's that movie at the beginning? :-D Would you tell what your "lineage" of teachers is, where your school comes from? Thanks especially for this video, as I have had trouble doing a dark+hooty falsetto sound that's also stable for seconds, when practising with recordings of my former (recently deceased) teacher of very different voice type than I. I didn't hear it well. But your student here, I could reproduce that. Interesting. Though it would be nicer yet without the saturation that's happening somewhere in the recording gear.
I have a mixed lineage. I see no value in lineage these days. The lines have been broken a long time ago. The recording is from a Skype lesson. I think it is adequate.
Hi. There is no up or down in singing. All pitches are produced at the larynx. The larynx stays relatively at the same position. Up and down is an illusion. This illusion becomes enhanced when we listen to what we think are changes of sensations or see notes change up and down on a sheet of music. If you think high, the larynx will go up with the thought. You cannot try to force things in the production of sound. The larynx just vibrates or hums the sound. The resonance is the result. Ignore the resonance and keep that lower vibration free and continuous. Give the larynx the space and freedom it needs. The resonance is a result of sound. It is already made. We focus on the vibration and the desired sound that we want to make. If you have to move positions, you are not doing that. The space, tongue and consonant articulators move and adjust. Let them do it. You don't have to give them attention. Your attention is on creating the vibratory tone. When you sing there is a condition. All you have to do is maintain that sound condition. Keep it going. Keep it going. Don't add pressure or force for changes. If the changes in vibration are free the changes of pitch will not be felt. As you ascend to a high note, use the previous good notes to get to that note. Sliding scoop etc. are all compensation actions. Singing should be efficient. Jumping to a high note is different to singing up the scale note by note. Practice sliding up and down the scale with a vowel and take note of the natural progression. This will help you find what you want. If you think lower. Don't push lower. Just notice the lower vibrations at the larynx. Just follow the vibration lower at the floor of the voice. As you ascend you keep it going. Higher notes will not feel so high.
@@baoanhnguyen9186 Sliding, scooping, slurring, are all mini-styles. For instance, sliding up to the note is popular with crooners. Just listen to anybody and you'll hear it. Try Sinatra or Dean Martin. But with other kinds of music--like opera--it's just sloppy and unnatural singing. Be able to do those things. But at the same time generally avoid them.
Tricky question. What do you mean by bigger voice? Louder in volume? Better carrying power? More dramatic in quality? A lighter voice type can be as "loud" as a heavier one. Acoustics can give us impressions of things. Voices can behave differently in different venues and size of venues. Some professional singers will talk about the large size of a voice in a rehearsal room but on the stage the singer cannot be heard. Do you want a darker richer sound? brighter thinner one? For me it is important to aim for freedom and efficiency. Size and volume are subservient to good function. Breathing low probably has little effect on vocal size. It is the coordination of the breathing mechanism and function that produces good results. Some can do this without breathing low. Or filling the lungs up to capacity. The right action is more important than how much. Some people have larger instruments. Some smaller. If the voice is well supported and produced correctly the function and the resultant resonance will be produced better. Look at a violin, viola, and cello. They change in physical size. Each has its own characteristics. Each has their own volume. Each has the ability to be heard well. Could you give me a better idea what you are thinking of?
I love it! The General gives a masterful reply to the question. Then coyly at the end replies to his suitor, "Could you give me a better idea what you are thinking of?"
Thank you for the video! That is gold information!
When I decided to learn how to sing properly(1 year ago) I found out about Melocchi's method and Stanley's school. I decided to go deep into Stanley and got in touch with a teacher that knows how to break registers(chest and falsetto) . He also got the chance to meet Anthony Frissel when he was alive and learn with him and other teachers that teached breaking registers.
Since I started to take classes with him it wasn't easy. Even today, 6 months after it 's still hard work. I had to get rid of my fake mixed voice, which was closer to my speaking voice and to get my tongue into a retraction position, like a frog sitting in my mouth. Took me almost 2 months to find the pure falsetto when breaking the registers, but it was worth every effort that I putted on it. Doing the exercises, I had and still have to keep my mouth in a full open position, so it doesn't influence my vowels. I also have to take care that my tongue doesn't come out of the retraction. But the results are from another world: My singing voice has more color, more tone, breath is released, even my speaking voice is not gripping in my throat and it has a lower pitch now. The best of all is that the coordination is starting to kick in! I try to practice at least 1 hour EVERYDAY only to build this technique and I still have so much work to do.
When you say about how hard it is to work in the voice of your students, even knowing that you work with a good technique, I know what you mean by saying it. Keep going with your job and this channel, that's making the difference.
P.s.: I would like to know where you got the cuts from the old video about the falsetto experiment on min 6:20 to 7:53.
This is a brilliant exposition of the falsetto voice and it's vital importance in creating a balanced and truly musical voice. I studied with one of Douglas Stanley's later students, and everything you show conforms to what I learned from him. Great work and undoubtedly lots of research. I only hope that this will impact those who are teaching the next generation of young singers who are being so badly led astray! Thank you!
If Radames posts it on his channel you can take it to the bank!
Thank You Lewis for your valued feedback.
I think a lot of young singers are off the right path. Knowing the right sounds. Listening to the great singers is the best first step. The problem with many younger people. They do not want to go through the hard work as needed. They try to get bits of information and put it together.
It is the consistent long-term lessons and working that gets them there. The greatest of singers always worked. Always trained their voices to work better.
I get disappointed with many students. I give them valuable information. I expect someone who wants to be a great singer to go away and bring it back perfected. Not many will do that. Only the pearls.
@@RadamesAida2Operalovers Yes, only the Pearls. You can often find me singing, humming, anywhere, anytime. No, I am not necessarily "happy," as they might presume. I am working! A great singer should at times appear to be just another pathological fool: singing, humming, rhythmatizing, in the strangest of places; knowing and becoming more intimate and confident with his voice and its capabilities.
Radames has been around a long time. He has few subscribers. He doesn't post often. But when he does, it's good stuff. That's why very early on I realized it was wise to be a subscriber to Radame's channel.
Very kind of you, my friend. I always value your opinion. You always have good judgement. I will try to post more often. I have a huge list of video ideas. Not short of that. They just take a lot of time to put together and edit.
It gets a little overwhelming. It is easy to say things. But there are consequences to the things we say. I want to help not to harm and confuse. I say things multiple times in many ways to students and they still struggle. At least I have provided good explanations with audio examples.
I think this is the best information on Falsetto anywhere. Online or in books. I missed a couple of little things. Intentionally. I think this is a fairly comprehensive description of Falsetto.
I should have sung the falsetto myself. The student did an adequate job anyway. I'm a little too shy. Lol. :P.
Though, my students think I talk too much. Hahaha.
Thank you for watching. I wish more people see the value in the information I have provided.
@@RadamesAida2Operalovers Undoubtedly, your postings have been a help in improving my voice.
The person that appears at 4:30, is a counter-tenor? Or a soprano singer? By the way, amazing videos in your channel! Thanks for the effort! :-)
People would call him a "Male soprano". No different from a Counter tenor for me. Thank you, David!
Thanks to YOU, @@RadamesAida2Operalovers:-)
@@RadamesAida2OperaloversThe reason for that is that his natural voice sat in the tessitura of a mezzo-soprano but yes it is essentially just a very high countertenor.
What's that movie at the beginning? :-D
Would you tell what your "lineage" of teachers is, where your school comes from?
Thanks especially for this video, as I have had trouble doing a dark+hooty falsetto sound that's also stable for seconds, when practising with recordings of my former (recently deceased) teacher of very different voice type than I. I didn't hear it well. But your student here, I could reproduce that. Interesting.
Though it would be nicer yet without the saturation that's happening somewhere in the recording gear.
I have a mixed lineage. I see no value in lineage these days. The lines have been broken a long time ago.
The recording is from a Skype lesson. I think it is adequate.
Movie is "Under Your Spell", 1936.
Question: when you reach for a (high) note, should you reach for it straight on (like Birgit Nilsson), or it is fine to slide/slur/scoop a bit?
Hi. There is no up or down in singing. All pitches are produced at the larynx. The larynx stays relatively at the same position. Up and down is an illusion. This illusion becomes enhanced when we listen to what we think are changes of sensations or see notes change up and down on a sheet of music. If you think high, the larynx will go up with the thought.
You cannot try to force things in the production of sound. The larynx just vibrates or hums the sound. The resonance is the result. Ignore the resonance and keep that lower vibration free and continuous. Give the larynx the space and freedom it needs. The resonance is a result of sound. It is already made. We focus on the vibration and the desired sound that we want to make.
If you have to move positions, you are not doing that. The space, tongue and consonant articulators move and adjust. Let them do it. You don't have to give them attention. Your attention is on creating the vibratory tone.
When you sing there is a condition. All you have to do is maintain that sound condition. Keep it going. Keep it going. Don't add pressure or force for changes. If the changes in vibration are free the changes of pitch will not be felt.
As you ascend to a high note, use the previous good notes to get to that note. Sliding scoop etc. are all compensation actions. Singing should be efficient.
Jumping to a high note is different to singing up the scale note by note. Practice sliding up and down the scale with a vowel and take note of the natural progression. This will help you find what you want.
If you think lower. Don't push lower. Just notice the lower vibrations at the larynx. Just follow the vibration lower at the floor of the voice. As you ascend you keep it going. Higher notes will not feel so high.
@@baoanhnguyen9186 Sliding, scooping, slurring, are all mini-styles. For instance, sliding up to the note is popular with crooners. Just listen to anybody and you'll hear it. Try Sinatra or Dean Martin. But with other kinds of music--like opera--it's just sloppy and unnatural singing. Be able to do those things. But at the same time generally avoid them.
I have contacted you via email :)
Do I understand correctly that the lower the breathing, the bigger the voice?)
Tricky question. What do you mean by bigger voice? Louder in volume? Better carrying power? More dramatic in quality? A lighter voice type can be as "loud" as a heavier one.
Acoustics can give us impressions of things. Voices can behave differently in different venues and size of venues.
Some professional singers will talk about the large size of a voice in a rehearsal room but on the stage the singer cannot be heard.
Do you want a darker richer sound? brighter thinner one?
For me it is important to aim for freedom and efficiency. Size and volume are subservient to good function.
Breathing low probably has little effect on vocal size. It is the coordination of the breathing mechanism and function that produces good results. Some can do this without breathing low. Or filling the lungs up to capacity. The right action is more important than how much.
Some people have larger instruments. Some smaller. If the voice is well supported and produced correctly the function and the resultant resonance will be produced better.
Look at a violin, viola, and cello. They change in physical size. Each has its own characteristics. Each has their own volume. Each has the ability to be heard well.
Could you give me a better idea what you are thinking of?
I love it! The General gives a masterful reply to the question. Then coyly at the end replies to his suitor, "Could you give me a better idea what you are thinking of?"
@@RadamesAida2Operalovers in my opinion, a big voice is a loud, rich timbre voice that can be heard everywhere. I love big operatic voices
Hi, I wrote an email to you. Please read it, it's important to me. Lew