"It is a grown adult male, crying like a baby! and sustaining that sound, it's definitely a very shocking impressive sound when done correctly" this makes so so so so so much sense.
The baby analogy is so fascinating-seeing how natural resonance comes from such a tiny voice makes so much sense for tenors trying to master their upper range!
I’ve been working on this exact thing with my new teacher and it’s been an absolute game changer; completely changing my perspective on singing after 10+ years of formal training
Great video! The vocal fry is indeed a useful tool to find cord closure, especially in the higher range with lighter coordinations. However, as you said in the video, you shouldn't overdo it because if you increase the compression in the folds too much, you actually end up hindering the airflow and dampening or "curbing" the resonance. Curbing is a viable and useful technique in pop singing, but not ideal for opera since you need to project over an orchestra without a microphone. Also, 10:27 beware of tongue retraction! Sui denti inferiori as Fisichella said😉
I’m hearing 2 maybe 3 levels!lol I’m glad you mentioned this. I was thinking it may be the vibration of my car speakers or something on the mic or studio room vibrating. It’s definitely worth investigating. Many times when in the higher range you can hear the whistle notes above. I have noticed when listening too live vocalists whistle tones will find their way in before the initial onset then during the word or phrase being sung. Lets see if we can discuss this topic. I would be real interested 🤔
Jose, do you utilize the “lip roll” exercise in teaching at all ? i ask because i am rooted in gospel and rnb style but also studying bel canto to learn as much as possible and i had an experienced opera singer tell me that lip rolls are not good and train certain aspects for some bad habits. what do you think of this ?
Amazing, I have tried it out, and unlike falsetto, I can take this sound beyond C5, something that feels very pushy and hard even in falsetto! Is there a way to connect this squeak/cry sensation to lower notes in the middle range? I have a lot of issues with notes around C4, my voice not knowing whether to push my chest or break into falsetto around there, something that is not really conducive to good singing. However, if I were able to bring that squeak/cry sensation down towards that C4 area, perhaps that is the bridge/connection that feels like it is still missing. Have you connected that squeak down to as low as possible in your voice, or is it something you only use in your high range? Very interesting indeed!
i love your videos jose, what you think about doing a "appoggiatura" before a high note like a C5, an example before "la esperanza" in che gelida, salutes from mexico thank you for the amazing videos
When you raise the resonance of your voice you sound a bit like Groucho Marx! LOL! What's amazing about you is that you seem to be able to do anything you want with your voice. You have a natural gift. Yes, you have studied and have clarified and refined your technique, but your voice is pure and hasn't been ruined in any way. As a baritone I've been told over and over again that my voice was too light. I've had to find more depth since my voice was naturally placed high and forward. It's a hard-knock life!
I don't know why but this approach talk to me for good this is the first time I had result. I guess the simplicity of just getting the squeak by imitation helps a lot. I would not say nothing is contracted, physiologically there are tensions to produce the squeak. It is only "good tensions" for achieving the squeak.. 😊 Thank you for your passion my friend
How wonderfully clear Jose explains everything: the best master! But one thing seems to be missing, just this one muscle: crico thyroideus, it stretches the vocal cords via the thyroid cartilage.
It's true that it's easier to sing with good pitch in falsetto. In chest voice, the weight causes problems. Moreover, it's easier to sing on one vowel than singing words with different combinations of vowels and consonants.
Every time, your videos are amazing and help me a lot. I have been suffering from spasmodic dysphonia for two years, and thanks to your advice, I am recovering. Thank you, and I hope to be able to have a lesson with you as well.
Maestro!! Muchas gracias por sus videos. Tengo una duda, en los agudos creo que me es sencillo mantener el sonido pero en la zona media me es muy complicado que siga con brillo y no entiendo por que… jjjejee Cómo reforzar la zona media?
So, in theory, it is possible to sing hours day by day with full voice, hitting numerous high notes, and keep your voice 100% healthy. But what about real life?🤔As I know, opera singers sometimes use drugs, such as Hydrocortisone etc., to reduce vocal cords swelling and other problems - injections, inhalations. For instance, in Russian opera theatres it is pretty widespread thing to do, even on the highest level, such as Bolshoi Theater. Is it because of technical imperfections or it's just because human body has it's limits (even with a great technique) and those singers work too much?
it's not possible regardless of technique if singing at that intensity, even though it sounds and feels easy with the right technique, at a certain point the amount of pressure on the chords wears them out and they need time to recover. Part of technique includes how they receive rest, both usage and rest make up vocal health.
Do you know Ken Tamplin? He always talks about making an Ahh sound like you would do at the doctor. He says "Ahh, it's the Lah". This actually helped me so sing through all the registers with a clear and supported sound.
That's to exemplify a bright, forward placed sound, which Jose also talks about in some videos, often with the cautioning of not artificially darkening the sound. Some of Tamplin's advice are good and some not, as his technique has not helped him to forego lipsyncing high notes live.
Thank you so much. So many teachers I see on RUclips just tell what you should do and never explain how exactly to do it and I really appreciate how you explain these concepts
"It is a grown adult male, crying like a baby! and sustaining that sound, it's definitely a very shocking impressive sound when done correctly" this makes so so so so so much sense.
The baby analogy is so fascinating-seeing how natural resonance comes from such a tiny voice makes so much sense for tenors trying to master their upper range!
3:30 "It breathes thoracically." I'm thinking, "Welcome to thoracic park."
I can actually cry so high like a newborn baby !!! Do you offer private zoom classes?? :3
@@Ricotta_Cat calendly.com/simerillastudios
@@Ricotta_Cat calendly.com/simerillastudios
I’ve been working on this exact thing with my new teacher and it’s been an absolute game changer; completely changing my perspective on singing after 10+ years of formal training
Great, thank you! I'm going to try it.
Great video! The vocal fry is indeed a useful tool to find cord closure, especially in the higher range with lighter coordinations. However, as you said in the video, you shouldn't overdo it because if you increase the compression in the folds too much, you actually end up hindering the airflow and dampening or "curbing" the resonance. Curbing is a viable and useful technique in pop singing, but not ideal for opera since you need to project over an orchestra without a microphone.
Also, 10:27 beware of tongue retraction! Sui denti inferiori as Fisichella said😉
Gran video 🎉
One of the best videos (if not the best) about singing I have ever watched! You're a talented singer and a talented vocal coach! Thank you!
I do the same thing!! My interest in babies has grown exponentially since I started singing 😂
Thank you. Every video you present is such a gift!
Can you please do a video on vibrato?! How to get it or if it is just a consequence of good technique? Thank you!!!
Grandioso, gracias, maestro 👌
Am I the only one hearing an additional major 3rd when he does the squeak ?🧐
Yeah its like two voices
I’m hearing 2 maybe 3 levels!lol
I’m glad you mentioned this. I was thinking it may be the vibration of my car speakers or something on the mic or studio room vibrating. It’s definitely worth investigating. Many times when in the higher range you can hear the whistle notes above. I have noticed when listening too live vocalists whistle tones will find their way in before the initial onset then during the word or phrase being sung. Lets see if we can discuss this topic. I would be real interested 🤔
It seems that some harmonic is emphasized by the squeak, as it happens in overtone singing. So cool! 😍
It would be so helpful to have a dedicated fry/baby squeak exercise video, so we can run through it with the piano like an actual exercise.
Jose, do you utilize the “lip roll” exercise in teaching at all ? i ask because i am rooted in gospel and rnb style but also studying bel canto to learn as much as possible and i had an experienced opera singer tell me that lip rolls are not good and train certain aspects for some bad habits. what do you think of this ?
Amazing, I have tried it out, and unlike falsetto, I can take this sound beyond C5, something that feels very pushy and hard even in falsetto!
Is there a way to connect this squeak/cry sensation to lower notes in the middle range?
I have a lot of issues with notes around C4, my voice not knowing whether to push my chest or break into falsetto around there, something that is not really conducive to good singing.
However, if I were able to bring that squeak/cry sensation down towards that C4 area, perhaps that is the bridge/connection that feels like it is still missing.
Have you connected that squeak down to as low as possible in your voice, or is it something you only use in your high range?
Very interesting indeed!
Please, make a video asking questions about singing ☺️
Everyone who sings should explore this channel… ❤️
🎙🎶 Bravissimo Maestro!! Un abrazo de un alumno fiel aca desde Australia pero de sangre latina!! !
I know this wasn't the main goal given the title, but don't burst the bubble was transformative for me. Thanks ❤
thank you for everything you do, you help thousands of people !
i love your videos jose, what you think about doing a "appoggiatura" before a high note like a C5, an example before "la esperanza" in che gelida, salutes from mexico thank you for the amazing videos
When you raise the resonance of your voice you sound a bit like Groucho Marx! LOL! What's amazing about you is that you seem to be able to do anything you want with your voice. You have a natural gift. Yes, you have studied and have clarified and refined your technique, but your voice is pure and hasn't been ruined in any way. As a baritone I've been told over and over again that my voice was too light. I've had to find more depth since my voice was naturally placed high and forward. It's a hard-knock life!
Great explanation as usual!!! Thank you!
I don't know why but this approach talk to me for good this is the first time I had result. I guess the simplicity of just getting the squeak by imitation helps a lot. I would not say nothing is contracted, physiologically there are tensions to produce the squeak. It is only "good tensions" for achieving the squeak.. 😊 Thank you for your passion my friend
Hehe when you go into the resonant speaking voice you remind me of Brent Spiner in Star Trek TNG when he plays Lore or goofs around when being Data.
How wonderfully clear Jose explains everything: the best master! But one thing seems to be missing, just this one muscle: crico thyroideus, it stretches the vocal cords via the thyroid cartilage.
Jose speaks always of the importance of the yawn: the Cricothyroideus is one of the muscles activated by yawning.
It's true that it's easier to sing with good pitch in falsetto. In chest voice, the weight causes problems. Moreover, it's easier to sing on one vowel than singing words with different combinations of vowels and consonants.
The cats ran right out of the room the very first time I tried this.
@@habeashumor9814 😂
Every time, your videos are amazing and help me a lot. I have been suffering from spasmodic dysphonia for two years, and thanks to your advice, I am recovering. Thank you, and I hope to be able to have a lesson with you as well.
Maestro!! Muchas gracias por sus videos. Tengo una duda, en los agudos creo que me es sencillo mantener el sonido pero en la zona media me es muy complicado que siga con brillo y no entiendo por que… jjjejee
Cómo reforzar la zona media?
Great video
So I have the chord closure cry but it still sounds closer to falsetto than a full voice. What are you doing to engage the richer sound?
Because your voice is still falsetto，You're not really closing the vocal cords
You should invite the great Michael Spyres he is the master of it
Thank you. You are my hero ❤ I will try and if i succed i will post it lol thank to you ❤
3:04 polyphonic undertones or am I crazy?
Haha no you're right, but I think it's the microphone that's telling Jose to adjust the volume 😂
Clear vocals are not always the best for singing tho right? for example clear E is often spread and sounds not nice, we have to narrow it down
3:05 WTH??? Damn those low frequencies 😯
We had the Yawn, the Snarl, the tilt and now the Squeak 😅
You really help us a lot 🫡
@@otakukinois9315 💯 all major components
This is one of the first things Mathilde Marchesi talks about in her book.
So, in theory, it is possible to sing hours day by day with full voice, hitting numerous high notes, and keep your voice 100% healthy. But what about real life?🤔As I know, opera singers sometimes use drugs, such as Hydrocortisone etc., to reduce vocal cords swelling and other problems - injections, inhalations. For instance, in Russian opera theatres it is pretty widespread thing to do, even on the highest level, such as Bolshoi Theater. Is it because of technical imperfections or it's just because human body has it's limits (even with a great technique) and those singers work too much?
it's not possible regardless of technique if singing at that intensity, even though it sounds and feels easy with the right technique, at a certain point the amount of pressure on the chords wears them out and they need time to recover. Part of technique includes how they receive rest, both usage and rest make up vocal health.
@@danieltalebi1040 Got it. Trust you 100%. Like I always do with total faceless strangers from the internet.
@@Delectatio I don't get where the attitude came from but hope your day gets better
🙏❣️
🫡
Even though you’re explaining much I could still sing falsetto only. Could you please show some exercises
I'm trying to do a vocal cord closure，The sound is still trapped in a falsetto
A human male roar. You've just made tenors so sexy!
What if you simply can’t do the cry? I’ve never been able to do the cry. It comes out sounding either like an old man or super squeezed
I am going to start crying today
Is what you're doing here also known as flageolet?
Sounds like this could all be applied to the female voice as well
❤❤❤❤❤❤❤❤❤❤❤
Damt it, this is so easy! To watch :/ To do?
Do you know Ken Tamplin? He always talks about making an Ahh sound like you would do at the doctor. He says "Ahh, it's the Lah". This actually helped me so sing through all the registers with a clear and supported sound.
That's to exemplify a bright, forward placed sound, which Jose also talks about in some videos, often with the cautioning of not artificially darkening the sound. Some of Tamplin's advice are good and some not, as his technique has not helped him to forego lipsyncing high notes live.
@@Bravilor I think they are talking about the same issue here. It's about a bright timbre, optimal chord closure.
Thank you so much. So many teachers I see on RUclips just tell what you should do and never explain how exactly to do it and I really appreciate how you explain these concepts
Can a baritone get to this? 😢 Someone who struggles at A4
Yes they can, just takes time and practice!
I sound like Chewbacca for gods sakes
Am I the only one who gets motion sickness with your camera? 🤷🏼♂️ 🤢 thank you for the videos much love! 💕
I often cry during practice.
Probably not like a baby though.