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The wrestler? That's a new one - but I'll take it.

I don't sing Opera, so fach classification is absolutely pointless - but, if I was given a classical piece, it would be a lower baritone to a bass. I'd be happy to sing Tenor too, but the tone simply isn't there for me in a classical sense. You can sing whatever the hell you want, at least in a rock sense, when you don't try to be an Opera caricature. Best - K

@@FoundationVocalStudio Thanks for answers. I don't think that classification is pointless but see your point here. It is hard to determine and classify when particular people have unique voices that are not common compared to opera different voice types that could be shown as main examples. Since you replied I will subscribe.

Thanks and welcome. The point being - vocal types like baritone and tenor are simply an aesthetic, not something defined in your DNA or that limit or benefit you in any real way. In a baritone role within a classical piece, I've got that aesthetic - however as a rock singer I really fit a whole different aesthetic based on making choices that a classical singer simply wouldn't make, tone, vowel, phrasing. However, if I made classical choices and went for that tone, I simply wouldn't have the range to sing in the Tenor range with that aesthetic. Best - K

There's an MRI of one of Danny Formica's students singing Opera, and the tongue is raised considerably at the back of the mouth - despite appearances at the front of the mouth which make it appear 'open' - this is how separation in your formants work. Front vowels in particular are called so because the middle of the tongue is close to the alveolar ridge at the front of the mouth, hence the name. But sure, I'm not going to sing a C6 anytime soon. My point being, what you see isn't necessarily what you get - take two singers with the same voice, and I'd bet a bazillion dollars they do completely different things to achieve the same results, and I'd bet double that that Dimash isn't depressing the very back of his tongue. Some food for thought... Best to you - K

@FoundationVocalStudio Rlly appreciate your detailed answer :). All the best👌 !

Sure, you can look at it that way!

So, instead of focusing on what your vocal folds or your throat are doing - focus higher up on how this sound resonates above. Make changes to how it resonates rather than trying to force out a new word or force out a higher pitch. Move the tongue, move the mouth, alter the palate and see what this does for your sound and range.

To my understanding, that's like seeing more red cars on the road than previously, just because you just purchased a red car yourself - so, not really. That first arch in the Dunning-Kruger effect is really what I'm talking about here - feeling like you're an expert because you've got more information now than you had 10 minutes ago, then spouting that everywhere, even though your skill level has not advanced. It'll all come crashing down, but, not before they've gone out there spouting something as the bees-knees solution to absolutely everything. I think that's at least half of the people that comment online, and at least half of the people that teach things like singing. Best - K

@@FoundationVocalStudio Ok yes, that makes sense. After reading that, I think you did use it in an accurate way. I just was thinking about it in too restricted a fashion, so that's my bad. Anyway, thank you again for your excellent instruction, and have a great week there

Thanks for your comment, but "really" sharp is a stretch - maybe here and there on the shouty sections of the verse, largely because Mike was flat on the original and it's tough to actually make a choice on pitching those lines when there really isn't a right pitch in many cases unless you're kinda shouting it. It's a live take in one go for the main vocal, so it is what it is. Mike is flat on the original through the verses, so it comes across differently considering a) I'm tuned up slightly from the original, and b) the original is flat and c) I'm simply nowhere near the beast of a singer that Mike Howe was in his prime. Case in point 3:56 - the only thing I'm 'sharp' on is "call" because I made a different choice, it's not actually sharp. But sure, comment noted. Give it a go in one take and let me know how you go! Best - K

Also, I hit a bum note in the harmonised guitar section in the middle!

AAAAAAND I fucked up one of the drum fills coming out of the solo.

Yes! Thank you!

@@FoundationVocalStudio I would love to see a video on how to approach singing about a girl correctly.

Kurt was a better singer than he gets credit for! Nirvana brings more singers undone than any other band ha - sure, will keep it in mind. Had one on the old channel that was sadly lost. K

The problem with vocal students is that they don't realise that no two voices and dispositions are the same. The approach that gives one singer three octaves of powerful range can be absolutely destructive in another singer that breathes or speaks in a different way in a fundamental sense - tone, physicality, accent, expectations, influences - these all colour the way you use your voice, so, no single instruction works for every singer. Ergo, you're going to get singing teachers giving different advice - I'd like to think I'm extremely clear on CONTEXT in these videos, and obviously in personal coaching. Your comment is exactly what I'm putting across in this video - work that out, and you're 90% of the way to finding a solution to your issues as a singer. Best - K

If it's any consellation, I often hate my own voice. K

Hell yeah man! "heartbreaker" is just a stone's throw from the Cornell thing - work that out and you're more than half way there. K

A little tough to match your TH-cam username to an email to see if it was lost in the shuffle - but yes, I do respond to emails if you've reached out personally. Hit 'contact' up the top to get in touch, pretty straightforward. Best - K

Sure, that's because all they used to sing was OH - and now we like to actually pronounce words clearly, especially when it comes to rock. Best - K

If we're talking 1995 onwards, I really have to agree. Robert Plant was also an awful singer, but I listen to Zeppelin daily and always dreamed of singing those songs, Ozzy Osbourne, Bowie, same thing. Side note, we've got a bunch of rescues here - keep doing what you're doing. K

This is a rock channel for rock freaks! ha. I could use Mary had a little lamb as a reference and it wouldn't really change the advice. However, If rock is not your thing, then I have to say I'm likely not your guy - I use these references because a) that's what I enjoy singing b) it's what inspired me to develop my technique and c) I don't enjoy pop or classical singing. I'm not going to pretend that I can sing Opera - one look at me and you'll likely see I'm a rock guy, and from my singing I'm a rock teacher; in fact, I've started even introducing the videos in that way aimed at rock singers for this very reason. If I want my teeth fixed, I go to a dentist, if I want my plants fixed, I go to the nursery - you're looking for opera advice from a rock singer, hence the disconnect. If you put the references aside and actually follow my advice, you'll sail through that G4 with ease - however, the bias towards timbre and style is likely a huge part of what is stopping you. I would suggest that Daniel Formica might be a better fit for you - he's both an incredible contemporary singer and teacher, but is massively into Opera - I would say he's the very best teacher you'll see on TH-cam... He's also hilarious! Best to you, and hope you find what you're looking for. K

Side note James - if you're 50, we were likely born in the same decade. I find it really hard to believe you've never heard of Creedence Clearwater Revival, Ozzy Osbourne, Robert Plant and the other references I often use. If you don't know the name Paul Rodgers, you DEFINITELY know his voice. These guys are largely in their mid 70's - we're not talking modern day pop singers here. You've done a number of Chris Stapleton covers - his 'idols' as you say, are Gregg Allman, Paul Rodgers, Robert Plant and yes, even Chris Cornell - the same guys I reference on the channel. Some food for thought for you. Best - K

The point being, an Opera singer really isn't going to do a great job of singing a Bad Company song. It's going to sound like an Opera singer doing a bad job of a pop/rock song. The reverse is the same. I haven't spent 25 years studying opera sensibilities - I've spent 25 years studying rock and my favourite rock singers, hence the reference and the colour of some of the advice. The songs don't actually matter, the advice matters - however, If someone came to me for lessons asking to sing Opera, I would immediately point them in another direction and wouldn't agree to work with them - I'm just not that guy. Best - K

So, I'd say 'mixed voice' isn't really the solution you're looking for. With the aesthetic you're looking for, vowel modification is definitely more the missing link, and likely your desired tone. In fact, I've moved away from really using the term 'mixed' for this exact reason. There's a video on TH-cam somewhere of Pavarotti demonstrating a covered sound, and he clearly modifies the structure of the vowel while doing so, expertly - there's more to this than you might realise. Without having heard you, I believe the tone you're going for/expecting is 9/10's of the issue you're experiencing. Luciano, and even Jonas aren't "putting on" that voice, it's a result of their technique and the style choices they're using. You seem to have disgust towards rock singing in particular, I feel this is actually part of the problem. I've seen Pavarotti sing with Bon Jovi and even Dolores O'riordan from the Cranberries - I wonder how he felt towards rock singing? Seems to be joy and openness more than anything. This is an important observation, because you're desperate not to sound like a rock singer EVER, however, this is pulling you in a direction away from what your favourite singers are really doing. Pavarotti sings bright, often with closed vowels in the higher range, and yes even front vowels in many cases, and predominantly with a cry/CT controlled pitch - let me guess, you're putting on a dark covered OH sound, trying to open everything up as much as possible, and trying to singing everything as a back vowel and pushing up with your support? Diametrically opposed choices to the ones your favourite singers are actually making, and funnily enough, the exact advice I'm giving here on the channel - but you pull in the other direction because I sing rock. Use a cry in the tone (like Pavarotti) shift your vowels to OE or IH respectively for back and front vowels (like Jonas) around the G4 and raise your tongue in the back like EVERY classical singer worth their salt does - don't slam that sucker down. I feel Eli would have given you much of the same advice I'm giving you, yes? But again, he's a rock singer - so you pull in other direction. He's a fantastic singer, and really knows what he's doing as a teacher - even if the aesthetic isn't there for you. So my friend, take the advice, and apply it to your own references - or, find a teacher than specialised in references that you would enjoy if that makes you happier. There's tons of Opera references on Danny Formica's channel - he would be my personal pick to work with if I were in your position/looking to sing what you want to sing. Best - K

So, "push up to G#4" is your first problem - does Andrea Bocelli push? Remember, "baritone" is a timbre, not a range. Pushing a G4 doesn't make you a baritone - this will only become apparent when you're actually using your full range correctly. However, you're likely trying to sing with that deeper aesthetic - which isn't actually what classical singers are really doing. I would suggest working with an Opera or Classical teacher rather than myself in this case - I can tell you the solution is likely to use a cry in the tone from D4 up, modify your vowel towards the narrow, and also keep the tongue high in the back of the mouth - there's an MRI somewhere of a classical singer, and the tongue is extremely high on all vowels. It's highly likely you've got the wrong idea about 'support' also - keep the ribs out from the body and exhale slightly, it shouldn't be like lifting (I assume that's why you push the G4). However, there would always be that element of disconnect because I'm 100% a rock singer, and you're going to avoid what you think my tone is for that reason - so, find a teacher that sings the style you enjoy well, and they're probably a good bet if you want to sing like that. All the best to you, K

Hi, i have the same problem at F#4, G4 G#4. I tried so many techniques... but the game changer for me as singing high notes was definitely being aware of my soft palate. I just raise it (think of yawning or think of a lyric singer like Pavarotti) just before going high make it this so much easy and keep my voice from being thin and cracking. Try this and think about exhaling and having a great support

@@laotsefab yep, getting that palate raised is one of the most important fundamentals.

Definitely cheesy jokes!

Remember, it's less a game of physical changes - and more about your tone and frequencies. Ergo, your vowel is likely not right in this range. Closure is one thing, but it really goes hand in hand with your vowel.

Do I sound like Plant here? th-cam.com/video/Z1C-sHI5JQU/w-d-xo.htmlsi=o-ItU5h5dcPEfm88&t=10

If you can wobble down to the E, it's likely you can improve that range. I wouldn't say you can "add", but you can definitely improve what's there. Go BRIGHT in your lower range, play with the support/pressure/air balance and remember - your vowels still come into play in your lower range. For context, I started out with a solid E2 - with better technique it's a solid B1 now. I can get lower than that, but, not something I'd really call part of my useable range. Best - K

Thanks Zane. Was down in Sydney a decade+ ago, but I've become a reclusive mountain man and moved out to the mountains up north, had a bunch of kids, chopping my own firewood and all that now. I do all coaching online. Best to you (and great work, you sound amazing!) K

@@FoundationVocalStudio Thanks for the kind words Kegan. I've found your videos really helpful, as has been your PDF on singing. I'm Sydney based, I'll send you an email about have some lessons.

It's advice that people who don't sing their vowels correctly give - it's not directed at Chris, I think he's great. Best - K