From Baritone to Tenor: How He Did It (Tips, Tricks, and Strategies)
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- Опубликовано: 25 июн 2024
- 00:00 - Introduction
00:25 - Introducing Antonio
01:30 - Antonio’s journey in singing higher notes
04:23 - Changes that developed Antonio’s high notes
06:02 - The first tip Gregory told Antonio that sparked his hgh note development
07:19 - Antonio demos his development in high notes
08:28 - “Necessary tension” for reaching high notes
11:20 - “Tight mode” in the West Vocal Method
13:00 - How did Antonio move forward after learning tight mode?
15:02 - Developing “Aperture Control”
20:25 - Developing falsetto and falsetto mix
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Falsetto Mix Video: • How To Sing In Mixed V...
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Antonio's story was so relatable to me... The only difference was that I never actually believed my teachers who were telling me I'm a baritone and my falsetto was extremely strong for some reason (the female operatic style, not the tight mix-style). I remember when I was 16 years old, my first teacher (who was unbelievably clueles) made fun of me when I told her I think I'm a tenor and told me "in my opinion, you shouldn't be singing above F (F4)". Which is extremely dumb because even baritones should be able to sing higher than that. Fast forward 10 years later I sing B flats in full voice as soon as I get out of bed with no warm-up. And I learned to do this on my own, with very little help.
Also, (and I've mentioned this before in your videos Greg) I loved that Antonio stressed how important it is for students to realize that high notes are NOT supposed to be easy, and that there has to be some level of effort and squeeze. The worst advice you can give to someone who is trying to sing high powerful notes is to tell them that it's supposed to be easy and feel no tension at all. You are not supposed to feel PAIN, but there will be some sensation of compression. Moderately high notes like G4 (that's the case for me at least) will probably become very easy over time, but very high notes like C5 in full voice (and I mean full-full voice, not compressed falsetto) will never be truly easy, no matter who you are. The risk that comes with them is part of the thrill after all.
That is exactly how I found out that I could sing a lot higher I was thinking. I always had a neck tension problem while belting that prevented me accessing the higher belting range. I didn’t know how to solve it and my singing teachers always told me that was my limit. On my own by experimenting I found this way to access higher notes with less tension. Good job guys, I am a fan!
Glad to see you're back! Great video.
I see Greg West uploads..
I get super hype because literally everything he makes is so helpful TY GREG🎉🎉
As a singer and performer in the industry I’ve been struggling so much with my voice, I can relate so much to Antonio’s story, everything he said sounds so much like what I’ve been going through, this video totally showed me a new perspective, would love to work with you guys! ❤
Thank you guys for sharing! Great content and information as usual!!! 🙏
Having briefly been a voice feminization teacher myself, thank you for this! The voice is so much more malleable than we credit it to be.
Very helpful video, thank you Greg and Antonio!
Very insightful ❤
Thank you 😊
thanks for sharing your story... you guys rock!
He returns 🎉🎉
THANK YOU SO MUCH!!!!!!!! Love this technique!!!! It helped solve my problem.. God bless you both!
Great video thank you so much. This is so helpful, I’m a baritone it’s very hard for me to head high notes and send the right now it’s I need to work a lot but you guys give me so much hope it takes a lot of attention to work but it’s so worth it.
Glad to see your team growing! I am re-watching our contents and come to think about the difference between tight mode and cvt curbing, and I feel like one of the element is that the lesser engagement of TA muscles, and thus the creeking when connecting back to normal chest voice. I wonder if I am feeling it correctly.
You think there's more TA in the tight mode or out of it?
-Gregory
@@StudioWestLessons I believe it to be less TA in the tight mode, but more IA perhaps.
Every note is like a different dumbbell; the higher the note, the heavier the weight.
It is never supposed to be "easy". You are supposed to train until that note is relatively easy for you, like how weight training works.
-What I have learned after finally breaking the blasted C4 wall after a decade.
Are you trying to work higher or lower
@@mattk8460
Higher.
I believe that's exactly missing part which I experienced too. In the beginning it's not easy or effortless. But once your body gets certain coordination, then with repetition, muscle and vocals cords stretch, it becomes easy
Youre the best Greg!
You're*
I've come to believe true baritones are almost as rare as true tenors. I think the majority of males are more or less baritenors who can either be fully developed or hindered by coaches. Let the buyer beware.
I think the idea of "true" any voice type is dubious. Voice type is more like a like a specific career choice that you train to develop specific skills for + marketing and branding fluff. I do think that most peoples voices can develop very baritone sounds and very tenor sounds as I see them as skills, and that rarely you get extremely low voices and extremely high voices. Part of the reason WHY that is is because most people need a lot of training to bring out those skills so it's quite rare for someone to just have it easily. But just because it takes someone 10 years to develop a high C doesn't make them less of a tenor once they've got it :)
-Gregory
No
True baritenor is really rare
@@zoteck9177 Considering that modern vocal science says voice types are more or less outdated rubbish and that F#4 is the M1 cap for pretty much all males, it's a silly debate to even have anymore.
I would say that there is a definite difference between being a baritone or a tenor but with training you can overlap the ranges. The official types are based on operatic quality with no amplification, which means everything in opera but much less in all other styles today. I am a baritone and no amount of fanticizing will make me a tenor. My core range is D to D, which I can sing all day without major effort. I can mix or belt a G pretty reliably and with proper training could turn my head notes into solid A B C D’s . A natural tenor will sing G to G all day and belt ABC. A baritone might be able to belt a Journey song and be quite impressive BUT it will never sound as sweet and natural as when a true tenor sings it. I am a fan of the Bret Manning method but I also appreciate this video pointing out that you don’t always have to mix or blend when you go high.
I discovered “aperture”, “tight-mode” and “flageolet tension” on my own through struggle and many years. If I had you as a teacher when I was wracking my brain and questioning my own potential as a vocalist, I would have improved exponentially in far less time.
I found very useful the information that you share on this channel. Looking forward to see more content from you, including vocal covers with your voice, i like how you sound. And i want to ask you to make a video about vocal placement cuz it's confusing that a lot of teachers on RUclips giving different information about that...to what spot should we direct our voices? To the teeth, to the nose, to the hard palate or soft palate...? And shoud we change placement of the voice as we go higher or lower notes? Hope for your feedback, thanks :)
I will add that to the list of content ideas! For now, I hope my response suffices. Placement is the byproduct vibration felt in various parts of the body when singing. Placement changes with virtually ever sound change possible like pitch, volume, vowel, timbre, etc. You can use placement as a specific "map" to indicate what sound you are getting because the placement will correspond to a certain sound. This map will be somewhat personal because placement sensations are subjective to a great extent. Please know that there is not a specific ideal placement objectively because it depends on the sound you want and two singers making the same sound may not even feel the placement in the same spot. Generally, I regard placement as a distraction from focusing on the two more important technical elements: the sound and the muscular efforts/physical technique (in various areas).
-Gregory
it would've be nice to insert some clips of Antonio's performances
Hi guys :) great video! 😊 I've found one information interesting and that was falsetto mix with hold and without hold. Been trying falsetto mix myself, and can do with hold, but not sure how to do it without hold (modal mix?) How you did in 22:55 - 22:59 minutes. Any help pls? 🙏
Hey Greg, is the “tight mode” you’re referring to something you don’t recommend anymore? Or is it more of a tool to find and develop that higher range before you play with aperture? What would you recommend to someone trying to expand a limited range? Thanks!
Please can you analyze the notes that each register can hit for a baritone singer ?
hello I know I'm late but can I ask a question? you know CVT right? does it have like a vocal analysis aside from vocal training?
I am a 17yo tenor, and I have begun to daily begin to attempt higher belting daily. I usually sing along with show tunes, and I’ve noticed that G4 has become fairly easy, and up to A4 or Bb4 has become a possibility sometimes, and only later in the day and if I’m well warmed up, but they also can crack if I try to hold them. When I’ve sung an A4 in front of my high school choir teacher, she told me that I was in tune, but it sounded “screamy”. If I continue to simply attempt these notes, will they become more consistent and develop better tone?
Thanks, very interesting. Could you also let hear where you are talking about, for instance from falsetto to voix mixte, thanks. I am a lyric tenor
Hello Greg, I have been singing about 20 years and I never learned anything past chest voice until about a year ago I started a singing course with Chris Liepe here on you tube. Fast forward to 3 months ago I started working on falsetto and head voice and now mixed voice, I think I'm getting it but then I come across your videos on this higher register lol, so my question is do I keep my Chords closed like I'm singing head voice with little air to get this higher register? I'm sorry I forget what you call it but it's the high squeek, I'm not feeling the pop your getting, do I want to Creek with more air or less air and think head voice placement? Thanks man your videos rock
Hey man! Good on your for developing your voice :) You want to think like a falsetto with no air (head voice some would say) and then squeeze it with it creak. Make sure the creak doesn't start leaking any air when you add it- often people do this.
-Gregory
@@StudioWestLessons awesome thanks so much I'll start trying this 🤘
Hi, also struggle with lisp like you. Can you do a video on how to train and manage a lisp while singing? This is a big insecurity of mine during my performances. Thank you.
Hi! I Actually I'm getting braces to close my open bite soon (which is why I have a lisp) and so I am not sure that video will help anyone. I think solving your lisp depends on WHY you have it.
-Gregory
Hey Greg, excellent video!!!
I had a question regarding the falsetto mix. I have watched the earlier videos and do the exercises regularly. I however can only do them for 15 to 20 minutes continuously and then for some reason it starts becoming really difficult to “access” this coordination. I notice that either I then need to take a break or maybe do it all over again the next day.
Is this normal? I don’t feel like i’m pushing too much nor does my voice feel uncomfortable. The coordination just for some reason, stops being available.
That is an interesting problem! Does the sound start gradually changing?
-Greg
@@StudioWestLessons
No not at all. It sounds the same but then it become increasingly difficult to access.
For example, at the start, the things i do work perfectly fine. But the same just stops working after maybe 20 minutes of practice. If I try beyond that. the tips you mentioned regarding mouth shapes, they only work above G4. And my voice flips all over the place. At the start however, my voice easily is able to slide in and out of the falsetto mix.
It feels there is something i am doing wrong, can’t quite understand what.
Also, thank you so much for replying, i’ve seen all your videos and they are excellent.
I find falsetto mix more susceptible to early fatigue and phlegm than the other coordinations I use. When the falsetto mix isn't quite working the rest of my voice is fine (neutral, overdrive, regular falsetto, etc). I'm not sure why this happens.
I’m curious about how you’re selecting which terms to use and why you’re choosing to make another school of thought vs going with CVT.
Well, the reason I select certain terms will depend on the term itself. But we can take an example. With chest voice and head voice I will use falsetto (because I've always like the word) and modal as it's counter part because they are commonly used in voice science and it is not ambiguous as to what they mean in voice science. With "chest" and "head" so many teachers have differing concepts of these words so by going with falsetto and modal I can dodge some of that and I dislike those terms for other reasons as well. In general I like words that are accurate and descriptive of what they map to.
The reason I am not going with CVT is because I don't think the model is as good as the one I made and use. It has many holes and while it's great against the backdrop of the current competition and vocal pedagogy it's not good enough for me.
Mines on the tight side and this prevents me reaching up more . Seems easy hearing others do it. I sometimes do it but the tightness comes back and my voice splits into stuck mess . 😊 there is vid kicking around with a guy singing Sherry in karaoke. It's so powerful and sounds mixed. Please have a listen it's Michael Moore .
My problem is the exact opposite of his….. I am unable to use head voice and I can only use falsetto, which is so breathy. Moreover, I can’t access my vocal fry. Can this be fixed?
My teacher told me I was a tenor. but I can only sing well in chest voice around F4. How do I know if I have sung to the best of my ability? I can't identify because I'm a newbie.
Well you know if you sang your best if you tried your best. You can always improve your best though, so there's nothing stopping you from raising your level of skill higher and higher. If you're stuck at F4 it's because you haven't had the appropriate training to develop high notes yet.
Hi i have a question
I tried a lot to go to flageloet but what happens is the as i go higher my voice disappears
Am I doing it wrong?
Im trying to do a like whimper puppy sound and Evan with that my voice disappears and I feel too much tension
Yes it shouldn't disappear. But, try it out for a couple weeks that way even tho it disappears. In other words keep making the attempt to coordinate into the tight mode falsetto even if it doesn't come out. See if after a few weeks you get any results. If not, then you need another approach to develop it before returning to that approach.
@@StudioWestLessons tnx!
Really want to work with Antonio! I submitted an email on the website:)
I have a closed mode problem, whenever i go high my larynx goes up and gets stuck. What can i do to prevent this?
vocal teacher will guide you better than anything else
^^^What the person above me said. Every one has different specific issues. A one-to-one session (with the RIGHT coach) will help more than anything.
Don't wanna ask Google "what does my headache mean" to find out "I have cancer" now.
As the last two commenters said, we simply have to hear you. There's nothing about your larynx being in a higher position that's detrimental to singing higher notes inherently, so it is likely that the issue lies elsewhere and that's just what you're picking up on/focusing on but it's more of a correlation than a causing of the problem. The feeling of being "stuck" probably does not have a specific relationship to your larynxes height.
Best,
Studio West
@@StudioWestLessons thank you for this response! Ill talk to my vocal coach about it
Hello teacher, I am a CVT learner, I have not studied CVT for a long time, I have a very big question, what is the resistance of breath support, I have asked many people, no one can answer me.😢
Resistance in breath support is the sensation you get in the abdominal area when creating breath pressure. More resistance = more breath pressure when you do it correctly. You always need to coordinate any support movements or actions with an attempt to exhale. Then your support resistance should be tied to your breath pressure. If it's not you're doing it incorrectly :)
I tried to do the tight voice but my throat started hurting
Dear Greg, some video idea: Would you like to try to explain singers or their kind of singing? For example Jemery Jordan (ruclips.net/video/chkOkcEFGM0/видео.html) oder (ruclips.net/video/TppJMa8apkc/видео.html)
So he is a baritenor or a true tenor
Baritenor. I don't think most pop tenors are even 'true tenors'. Adam Levine, Chris Brown, etc. all have pretty low, bassy speaking voices.
@@deathrattle216 listen tony thompson would u say he a tenor like tevin campell
He could do either. You need to look at voice type more like skill-based self fulfilling prophecies than a genetic predestination.
@@StudioWestLessons u may know more than me but genetics do play a role on your voice i mean u as a tenor cant sing a g2 or f2 like a bass
Voice classification does not seem to apply to pop or other music apart from classical. Due to them not using their full voice there. In pop even a bass can sing tenor. But its easy to tell tenors, baritones and basses in opera based on their speaking voices. They speak like they sing or use the same full voice there. @deathrattle216
A baritone can't be a ,,true" tenor, if a baritone have luck he can be a baritone with tenor high notes but that ain't the same.
😳 P r o m o S M
I become a western teacher.. If possible.... In future...
cough* whistle register.. cough*
How he did it? No help here at all.
because they didn't, just two obvious tenors here that were beginner tenors when they were younger--being a tenor doesn't mean you automatically sing high if you're bad. It's like thinking a tall person who sucks at basketball is magically short and is only tall when they're good, makes zero sense. An untrained tenor is still a tenor, just a bad one. Imagine if someone told you all the beginner women that can't sing high well are also just baritones or tenors until they "become sopranos", nonsense.
Yes, if an advanced student, not as much help, but impressed with beginners help. I can imitate Bryn Terfel if that counts. Maybe he cant do a resonant A either.@@ryansinging
By using glottal stops in an increasing and decreasing scale you can experiment through your 'bridge' and get a better understanding of and feel for how to take your chest voice up into a higher register (avoiding ending up in a breathy falsetto that the bridge could cause). Greg (Studio West) has many videos on this so I recommend checking his videos out. If one doesn't help he always has another :).
In the beginning it helps with only an increasing scale (the glottal stop thingy). At least it did for me. Also, remembering the feeling/sensation of when you yell 'Hey!' or 'Go!' in a high register (for you) can be beneficial. This feeling can actually be felt in the throat for me even in a head voice register.
I'm a baritone bass, I think. My chest range is D2 to D4. That's it, everything is too high for me. However, I do know that this tension thing works. The one explained in this video. I used it a couple of days ago, and I pushed through A4. It didn't sound good, but it worked. I know it's so unfair and stupid that you have to work so hard to achieve absolutely nothing sometimes, but if you just keep going, you'll suddenly break past.
Ok, it was a really obvious clickbait even before watching the video. You can't just simply go from baritone to tenor unless your voice mistaken in the beginning. It is relevant especially for new and untrained beginners. On the other hand, male hormones rise up as males get older for example Placido Domingo, one of the most famous tenors, switched to baritone as he gets older. Here is my experience as a musical theatre actor. I have started playing in musicals without any background and I had classified as a spinto tenor. Now here is to biological fact comes. Vocal chords are muscles just like like any other muscles. When you start to gym for the first time you can't lift heavy weight but progress as you train reguraly. It is the same with vocal chords. Back to my story, after two years of training my voice changed it got a lot lighter and agile then our troupe's teacher admitted that he misclassified me due to my untrained voice and told me that I'm actually a leggeiro tenor. So, Antonio might be misclassified as well. It's really common for untrained voices because you build up your vocal chord like lifting weights. On the other hand, Antonio still struggles with g4 and there is a lot of strain in his voice. Your range also will expand as you train but you can't really change your voice type, you only can unlock it's true potential. For example there are a lot of baritones can sing crazy high notes for example Iced Earth's vocalist. Just check out their Dark Saga album. It's full of crazy high notes but the timbre of his voice really different from tenor high notes. İnstead of trying to put yourself into some category or try to label, accept your strengths and work on them.
Well, there are many "mistakes" in the beginning then. SO many young men get told their baritones and that tenors are rare simply because teachers don't know how to train high notes and develop tenor SKILLS. That is really what they are- learnable skills. THAT'S what's important for untrained and new singers to understand. Placido Domingo was a baritone first, THEN a tenor, and now he's just out of shape and practice if he can't do it anymore :)
I agree with you about muscles being able to be developed and strengthened as it relates to singing and that that will impact the vocal skills one can do tremendously.
Leggiero singing is a skill and so is fuller singing like spinto. You could train some spinto tenor coordinations- you're not stuck as a leggerio it's just something you developed that now works well for you.
Antonio actually does not struggle at G4- you might say "he sounds like he's struggling" and that would boil down to the voice quality he is creating that gives that perception to you but actually if you ask him it's quite an easy note for him.
You can absolutely change your voice type as you learn those different skills. Singers go from being heavier to lighter and higher to lower, etc, as they train and develop new coordinations. I would say that your belief in voice type prevents you, and others who believe it as well, from developing their voices fully. That is only an issue if you dissuade yourself or others from actually developing the skills you REALLY want. If you want to sing as a baritone and you're happy with that, that's great. If you want to sing lighly that's cool too. But if you want the other end of that from your voice you can also work on that as well- within reason. There is so much flexibility in terms of timbre that the human voice is capable of and a voice type doctrine does not help anyone master their voice.
@@StudioWestLessonsPERYIADTTTT
I was in this spot when I started singing high notes where I could only sing them briefly for 5 seconds at most, and after that I would go flat or sharp, with every note above E4 it was a mess, and they would sound throaty regardless of what I tried, and then with your videos I learned that is ok to be throaty, and now this throaty sound only comes after 10 seconds! Is the strengthening of the muscles that make the voice sound relaxed over time and not the contrary.