May I just comment here on this excellent tutorial. Don't let the terminology overwhelm you. Stay with it. Watch these videos several times if you need to. This is a really important topic to understand. I remember how the terms formant and harmonic really threw me, but once you begin to understand it better, it will all fall into place.
Thank you so much for your videos. You are simply amazing! I would love for you to do a video on how to create a more TA (M1) dominant mix vs creating a CT (M2) dominant mix. Again, thank you for your wonderful videos.
I'm glad you're still posting videos of this series. I haven't been quite ready to watch them, because I'm taking notes on some of your older videos. But I'll get to this soon!
"Monophthong"- Thank you, thank you, thank you! First I heard of this. Well aware of "diphthongs" and "triphthongs" as what we do not want. Even mentioned by Gudio d' Arezzo in the 11th century manuscript 'Micrologos.' I do a great deal of Gregorian Chant and spend most my time fixing the American vowels of the singers. Curiously enough, In Gregorian chant it is the 'liquescent neume' that is meant to call your attention to diphthongs as well as consonants that interfere with vowel purity. The composers of chant were well aware of vowel purity and built it into their organic notation system. -Also I just looked It up, it is not in Cornleius L. Reid's 'Dictionary of Vocal Terminology' but he does have 'diphthong'. ?????. I guess I am revealing my ignorance. So simple, but perfect term-vowel purity narrowed down to a single word. Nice! I am certain I will use this term now, many times from here on out.Thanks again!! Please have a look at my humble web-pages: palestrinachoirschool.com
True. "Sing like you speak" as tito schipa would say for example is only valid for romance language speakers as they only use 5 pure vowels. "Covering" and "vowel modification" is only for english speakers to get rid of splatty vowels like ahh in apple. That vowel doesnt exist in italian or spanish so they dont think of it as modifying just speaking.
In regards to your example by singing your on an [i] vowel, you say that adjustments such as releasing the jaw might help to accommodate the beauty of the vowel as you ascend in pitch, but why wouldn't you just start in that more relaxed position? I have the same question in regards to your larynx which you can hear rising as you sing....why wouldn't you just allow it to stay in a more relaxed lower position as to not create tension or a feeling of pressure?
I need help with my head voice and falsetto. I’m an 18 year old baritone. And I have great moments with my falsetto. But then other times, it feels like I hit a wall. But I refuse to think it is a range limitation. Because I have really good moments up to E5 in falsetto and sometimes higher. How can I remove that hit the wall feeling keeping it free. I’ve tried everything the h sound worked well for a while but the wall feeling came again
If you're looking for information on vocal acoustics - something that will present a simple model to help you wrap your head around the concepts - I highly recommend Ken Bozeman's book, Practical Vocal Acoustics. Ingo Titze has lots of wonderful published papers, but he dives more deeply into acoustic theory, so it's not necessarily recommended to start there. Johan Sundberg's The Science of the Singing Voice offers a deep dive into all aspects of singing, including his area of specialty - vocal resonance. If you're looking for a more general book that discusses both technique and voice science to get you started, I love Richard Miller's Solutions for Singers and then, for a comprehensive deep dive, The Structure of Singing. I hope this helps.
May I just comment here on this excellent tutorial. Don't let the terminology overwhelm you. Stay with it. Watch these videos several times if you need to. This is a really important topic to understand. I remember how the terms formant and harmonic really threw me, but once you begin to understand it better, it will all fall into place.
Awww. Thanks, Bob!
You’re the only person on RUclips I’d listen to, speaking about the voice. Brilliant. Thanks.
I was the one who made the comment that you're responding to. Thank you for getting to it!
You're welcome.
Thank you so much for your videos. You are simply amazing! I would love for you to do a video on how to create a more TA (M1) dominant mix vs creating a CT (M2) dominant mix. Again, thank you for your wonderful videos.
I'm glad you're still posting videos of this series. I haven't been quite ready to watch them, because I'm taking notes on some of your older videos. But I'll get to this soon!
Thank you for these videos. Your explanation actually opened a door for me I didn't open before!
"Monophthong"- Thank you, thank you, thank you! First I heard of this. Well aware of "diphthongs" and "triphthongs" as what we do not want. Even mentioned by Gudio d' Arezzo in the 11th century manuscript 'Micrologos.' I do a great deal of Gregorian Chant and spend most my time fixing the American vowels of the singers. Curiously enough, In Gregorian chant it is the 'liquescent neume' that is meant to call your attention to diphthongs as well as consonants that interfere with vowel purity. The composers of chant were well aware of vowel purity and built it into their organic notation system.
-Also I just looked It up, it is not in Cornleius L. Reid's 'Dictionary of Vocal Terminology' but he does have 'diphthong'. ?????. I guess I am revealing my ignorance. So simple, but perfect term-vowel purity narrowed down to a single word. Nice! I am certain I will use this term now, many times from here on out.Thanks again!!
Please have a look at my humble web-pages:
palestrinachoirschool.com
You're welcome. I love Gregorian chants, by the way!
True. "Sing like you speak" as tito schipa would say for example is only valid for romance language speakers as they only use 5 pure vowels. "Covering" and "vowel modification" is only for english speakers to get rid of splatty vowels like ahh in apple. That vowel doesnt exist in italian or spanish so they dont think of it as modifying just speaking.
In regards to your example by singing your on an [i] vowel, you say that adjustments such as releasing the jaw might help to accommodate the beauty of the vowel as you ascend in pitch, but why wouldn't you just start in that more relaxed position? I have the same question in regards to your larynx which you can hear rising as you sing....why wouldn't you just allow it to stay in a more relaxed lower position as to not create tension or a feeling of pressure?
We want Lesson 4!!
Is it just me or this video is has got better picture quality? Different recording device? More light (maybe because of the mirror)? Thank you!
I need help with my head voice and falsetto. I’m an 18 year old baritone. And I have great moments with my falsetto. But then other times, it feels like I hit a wall. But I refuse to think it is a range limitation. Because I have really good moments up to E5 in falsetto and sometimes higher. How can I remove that hit the wall feeling keeping it free. I’ve tried everything the h sound worked well for a while but the wall feeling came again
Literature recommendation please?
If you're looking for information on vocal acoustics - something that will present a simple model to help you wrap your head around the concepts - I highly recommend Ken Bozeman's book, Practical Vocal Acoustics. Ingo Titze has lots of wonderful published papers, but he dives more deeply into acoustic theory, so it's not necessarily recommended to start there. Johan Sundberg's The Science of the Singing Voice offers a deep dive into all aspects of singing, including his area of specialty - vocal resonance. If you're looking for a more general book that discusses both technique and voice science to get you started, I love Richard Miller's Solutions for Singers and then, for a comprehensive deep dive, The Structure of Singing. I hope this helps.
@@singwisevocals thank you very much for the sign posting
We want Lesson 4!!