hi Dan,yes this Bel Canto has been used as almost as a system for the purists in singing, ive had 50years in vocals, and used Belcanto even in my ACDC singing, and believe me this has helped on the higher notes, 52 years on the road, and nobody knows it all, but i know Bel Canto, and it can be used in contemperary singing, if the singer knows how to adapt and mix the two styles
@@theseeker2586 What Have you heard his operatic voice? He works with many vocal technics, but it is defenitly a bel canto technic in his operatic voice
Thank you for the info, I started looking this up after watching some Floor Jansen videos that are popping up about her stint on this seasons beste zangers nl, but while some of the vocal coach reactions state she's got classical training some did not credit her with operatic technique. I've watched her many times and I know she CAN switch to pure operatic technique and does when it suits her, her best weapon is that she can go back and forth between many styles at will and with perfection. But someone in on of the episodes mentioned bel canto and I could not identify the technique because I didn't know what it was. The first time I'd heard of it was in the first Phantom of the Opera released for T.V. (My wife has it on VHS.) and there was a line in where Carlotta says "nobody sing bel canto without training god doesn't allow it" back then I would never have thought to look on TH-cam for it, but times have changed since then. Thank you again for info. ;)
Dear Dr Dan, Thanks very much for this video! As one of those uninitiated, the concept of Bel canto was intimidating at best, a mystery at worst...so I steered clear! You're right, so much about it on TH-cam! Thanks for taking the time and effort to tease out the basic points and present them to us this clearly. Stay well, Linda.
Thank you for explaining the Bel Canto method. I have never heard of this method until I went to the university music dept online near where I live. I was looking for something else and found that they use the Bel Canto method so I youtubed it. Thank you so much.
Bel Canto was a period in Italian opera after Verdi / Classical period. The most famous composer of that period was Belini. Bel Canto operas are obvious by the vocal gymnastics needed to sing the arias. I get tired listening to them, but I feel the same way about some contemporary female vocalists who cram countless 16th and 32nd notes into a song to interject emotion. Same concept, different era.
My first encounter with BEL CANTO singing technique, was in 1974. Myself and a fellow accordion player, found ourselves (dont remember the particulars) working with a man named ANDRIAN ROSATI. He explained that his singing was called BEL CANTO, meaning BEAUTIFUL SINGING. He said that he would sing at the USO SHOWS, during the SECOND WORLD WAR. He said that when BING CROSBY was scheduled to sing, but was unable to sing, due to a health issue, MR ROSATI would fo so without the use of the microphone.
I am a big proponent of learning to take M1 up to the highest notes possible. It is a road less traveled, and full of challenge, but as a working singer, I have experienced the benefits and continue to experience the benefits. I have incorporated some of the Bel Canto elements into my Rock and Motown vocals.
It’s funny. I heard the term used to describe a person’s vocal *sound* and approach…he certainly fit all required facets that define it. But the instructor by no means was saying it can be taught. This is a famous singing drummer that has tremendous sustain, seamless transition from chest voice, and a warm roundness to his tone that almost, ironically, sounds like a bell that seems to *ring* when he’s singing in a particular register. (While pounding away on his drums.) To my knowledge, he has had no instruction, but has merely developed a style that is conducive to sitting at a drumset. He really is a freak. 🤣 Anyway, thank you for this. I can still understand why the description was used, even if it’s not necessarily possible. (I don’t know if you still read these comments.) Some of the names mentioned below make me laugh. It’s definitely not just about vocal range.
Not intended to be negative of voices or horses. Some are quarter horses, or thoroughbreds, or plow horses. Please excuse this simple comparison. Nevertheless, all voices can benefit from from this method. 1. Sing the words. 2. Sing as you speak. 3. Breathe as you live. This training, most importantly, is very natural, which is vague when stated as such. Be well.
mate, the 18th century Italian Opera you refer (2:14) was not the Bel Canto school. 18th century (1700-1799) is the classical period of singing that has very little to do with Bel Canto. The Bel Canto term applies to 19th century Italian Opera and the Holly Triad of composers Bellini, Donizetti and Rossini while one could also add the young Verdi. As u also realize the term also does not apply to the Italian composers of the Verismo school which came at the end of 19th and early 20th century. This is common knowledge among opera people.
the late 18th century and the 19th century this Method was used by several famous teachers and yes after 1900 it was seen in schools. But famous teachers had published much earlier than that. The term is very vague also. What you say is accurate to a point. It is not just the three composers it also refers to a method of teaching voice during that time period.
It was not named in bel canto but was there. Rossinian opera is a good example as the romantic tenor evolved in this era and was based on the tecniques of bel canto to aquire a light soft sound.
Solid explanation. While I follow the same understanding of similar steps for great singing (without subscribing to the term Bel Canto) I think that this training regimen is essential for even contemporary styles...for both the longevity of the vocal instrument as well as the greatest flexibility for expression. Just like an athlete cannot reach their highest achievements by only drinking protein shakes and lifting dumbbells', a vocalist must master these different disciplines of singing in order to realize their ultimate ability. And these disciplines involve understanding the mechanics of human physiology. The same one for all of us. Even Steven Tyler! Mr. Tyler has had his share of major vocal cord problems too. You bet he now sings a whole step down these days. Sometimes new undisciplined contemporary singers just pick a style from the current flavor of the month...that they can imitate most readily...as opposed to learning great technique from the onset and having many more colors of the vocal palate to choose from.
I certainly do not use the term Bel Canto to "dazzle" the student. I have been a pop/jazz singer for over 30 years and studied with a classical Bel Canto 2 years twice a week before singing professionally. We only worked on Bel Canto technique and no repertoire whatsoever. It has served me tremendously well, as sometimes I was singing 5 hours a night, as well as accompanying myself on piano. And I always had prime vocal health because of it. So yes, I advertise that I teach Bel Canto, because I have truly walked the talk.
Thank you for this - very interesting information. I was wondering if you might be able to weigh in on what verbiage I might use to seek out a voice teacher who could help me sing with the clarity and beautiful clear tone of a singer like Sinead O'Connor or a lot of the Irish singers singing pop/rock without a ton of vibrato? I seem to really gravitate toward Irish pop/rock singers and am trying to identify what the common ground amongst them is - beyond that they often seem to have spot-on pitch and a very clear - never raspy or nasaly - but very natural tone. And there is a kind of beautiful lilt to it too - not sure what technique this is? I don't know how to search for what I am looking for and appreciate any guidance. Thank you.
Hi, Heidi-Jane S. Bookkeeping Services. You may find my online singing course helpful - drdan.co/onlinesinginglessons. Feel free to check it out sometime. The first module is free to preview!
Because he doesn't really understand it. He probably googled the term before making the video. Everybody always wants a short cut in life and Bel Canto doesn't give short cuts.
Some examples would be good. Bel canto, collaratura are terms used aesthetics as well as stylistic. For example Richard Strauss uses elements of Bel Canto but it’s rarely found in Britten yet they were composing at the same time. Pure and seamless Vocal line often requires a bel canto approach. Basically where ever there is a strong melodic scale and virtuoso singing. I don’t him there is much of that in contemporary popular music any more. Even in musical theatre the belt register dominates. In my days as an opera singer that type of singing style was called Can Belto.
Yes. It was actually one of her many trainings during Girl's tyme/Destiny's child days with her former vocal coach Mr. Lee Brewer. No wonder she still has her voice stronger than ever 22 years in her career.
I think we hear this discrepancy when classical artists attempt "crossover" ... the sound they make might be technically accomplished but it usually gives a very stiff and formal impression.
Bel canto does not require vibrato in every aspect of the song. You should listen at Rossini's repertoire. Colorature singers would lose a lot of resources if they don't use the vibrato differences. This video has a lot of misconceptions and it's sad that you couldn't search more sources about it and confront those with examples. The treatment of the voice is much more strict based on natural resonance categorizing those so they can be assigned into a character role. Does not fit the idea that every voice can be trained in everyway and perform every piece. Even if you use a microphone the compression of the voice and the harmonics richness sounds contrasting. The management of the vocal registry is also different because it tries to avoid falsetto, relying on the head voice. This technique can be mixed with new ones as long as they don't use a different projection.
I studied bel canto 40 years ago. I was told it was based on the Italian vowel shapes which creates 'beautiful singing'. The ring is called squillo is it not? I have been singing all music styles for 45 years, with some of those years using the bel canto method of open vowels. Few pop singers use this style although Celine does with nasal resonance. Adele sort of does but closes down too much to have full on bel canto. She uses her throat a lot. That video that's out of the gentlemen showing singing on the inhale is nonsense. My choir teacher told me to sing 'as though' I was still inhaling in order to help keep the throat open and maintain support. But you cannot sing while inhaling.
I mean I can do a pretty broad Melody range through inhale with decent clarity 🤷 I've also basically studied nothing but tonal screaming as well as vocals fry and false chord both exhaling and inhaling. I will say inhaling feels like it could def be damaging, but I do think it's possible to sing with it. Then again I am by no means a professional just stating from things I've seen.
Inhaling while singing mostly refers to raising the soft palette, and keeping the position of the mouth consistent and primed for breathing in so as to not produce large sounds when actually inhaling. You're not supposed to actually sing while inhaling. The technique is useful for choir because when everyone inhales at the same time, it is very audible and distracting.
I semi disagree with you, but I don't know if you call this disagreeing. I feel bel canto is something that all singers and all singing teachers use, but in different ways depending on their intended genre or style. Another thing: it's not as controversial as you make it out to be because very few voice teachers know how to teach what they know (if they can teach it at all) in a flexible manner. They think students will just get it by doing things only one way without explaining all you can in any way you can, which I feel is sort of ridiculous.
Oddly enough, if I remember correctly, I recall reading a reference to 'the Bel Canto style of the old Italians' in a copy of a violin treatise (I believe Joachim-Moeser). In that era and style of violin technique, portamento was critical, and vibrato was used deliberately and sparingly as an ornament, often in imitation of the style of a talented singer pushing their voice (in a good manner). I suspect the demand for constant vibrato in singing is a development that came about in the latr romantic and into the modern era
Just like the best songwriters who absorbed many influences like a sponge to broaden their musical knowledge and artistic palette, I see nothing wrong with adopting different vocal techniques if it gets you from point A to B and helps you find your voice. Freddie Mercury most definitely employed Bel Canto technique in his style, yet also adopted different contemporary vocal approaches as well. His deliberate and beautiful falsetto range was contrary to Bel Canto, for example.
I don't know very much about bel canto or any other technique, method, style, etc. I do know that 13yr old Amira Willighagen has one of the most beautiful voices I've ever heard..
Do you consider Johnny Maestro ("Worst that could happen" '68) Bel Canto? Paul Shaffer referred to him as such. How about another video with examples of singers in popular music who attempt Bel Canto.
HI Dr. Dan! quick question; recently I've been covering some 80's hair metal songs, Warrant/Poison and the like. As a baritone, I'm thrilled to be able to sing these songs in the original key. however, i have a much bigger/"manlier" tone up top compared to the original artists. I would love to have a more light tone like theirs. is the bigger sound merely a side-effect of the baritone voice, or is there a technique you recommend to help with sounding more tenor-esqe? all the best!
Cool channel Dan i just saw you with Tim and here i am....I'm suprise you have over 19K subs and this video uploaded at Sep. 19 and i see 800 views only??? WHY??
There's a lot to be said for being able to produce that resonant ring which comes from a focus on placement, a la bel canto training. My voice sounds better with it, in almost all contexts, though you can always tone it down it seems. Lots of contemporary singers seem to use it too, very helpful concept for me. Opera style vibrato is a bit niche though.
Yes I've had instruction on twang in a contemporary context recently. I''d been thinking about this lately actually, I guess the underlying principle between twang and the classical 'squillo' is the same, and it's just different instructional methods, focus on other elements stuff like that maybe. Both approaches and exercises produce similar desirable overtones. I"m no voice expert at all but it seems something like that.
There's nothing niche about operatic vibrato. The characteristic huge operatic vibrato that's common perception is actually not good or correct vibrato. It is a vocal wobble. True bel canto vibrato is extremely beautiful and pleasing and entirely natural; it is 100% non manufactured. It appears naturally when the voice is perfectly extremely relaxed during inhale exhale and onset of the tone which requires very specific and coordinated muscle coordination of the torso. The result is a sound as if floating on the tone. The vibrato appears from the larynx slightly bobbing up and down evenly from the perfectly balanced and sized airstream
@@Paljk299 Nop. I used to think that, but twang and squillo are actually polar opposites. Twang comes from a constriction of the larynx that makes it smaller so the vocal folds themselves are closer and it's easier to get them together. Squillo or core is achieved not by the constictive nature of twang but by the development of the muscles that naturally make the vocal folds come together, the thyroaritenoid muscles. Which are phonatory mucles. Twang is created through the engagement of swallowing muscles (the aryepiglottic sphyncter). In (old school) classical singing the lowering of the larynx creates a bigger pharyngeal space that increases the depth (bigger resonce chamber), while the thyro-aritenoid muscles creat proper abduction of the vocal folds which gives it the core or squillo.
@@stone8193 this is a misconception. Vibrato is a pulsation that has to be developed. It's not something that appears on it's own. Good vibrato needs a proper release of the air and proper vocal fold abduction, but it's not happening spontaneously.
Hello Dr Dan ! I am new to your channel and I admit the work you are doing is very impressive. I was also impressed by your explanation of Registration in other videos. Though I have a query related to this topic. Earlier I started with "Bel Canto" and I was using an old vocal instruction book called as Method of Singing by Alberto Randegger Professor of Singing at the Royal Academy of Singing, Philadelphia. Other than Chest and Head , He mentions Pharyngeal Resonance(Widening or Shortening of Pharyngeal Cavity) which is supposed to give color to the voice. Some Renowned Vocal teachers assure that it's the Use of Color which enables a Singer to sing Different Genres & Styles. But you have completely overlooked the use of Pharyngeal Resonance. I would like to know your take on Pharyngeal v/s Aryepiglottic Sphincter( Vocal Twang) and what do you think how each one fits in into the Arsenal of a Contemporary Singer.
Dr Dan's Voice Essentials Thank you Dr Dan . I am really hooked on to your channel right now and I hope it would up come with some awesome videos and information in the future too.
She did? ;0; Came here after learning Kin from Youth With You 3 claims to be good at bel canto and I am just speechless in the most respectfully disagreeing way ;-;
You are pronouncing it incorrectly, but it would appear you would know that. Bel canto, is a technique, method, etcetera, that builds the voice, teaching the singer to be able to play their instrument. Voices can be compared to horses, not intended to
It's just struck me that you could do George Formby tunes to a tee, you've got just the right kind of voice. I could never do 'em, imagine Johnny Cash trying to sound like the Emperor Of Lancashire.
Hi Dan, you mention the word falsetto. I assume that you understand that it is not the same as head voice when we are speaking of the male voice. Head voice is connected whilst falsetto is not. I encourage male students to use head voice as a stepping stone to the full voice. Also a great tool to gently extend the range and give light and shade to their songs. Cheers
Falsetto is strictly in the ‘head’ and only uses the thin, leading edges of the vocal folds to vibrate producing a thinner sound. Head voice can be defined as a ‘mix’ of chest and head voice, which is generally a stronger sound than falsetto. This is a better way to think about these two terms.
I’m a bel canto singer. What I just hate is how some singers say “classical music and contemporary genres”. Classical/art music is also contemporary, jazz, (pop) and rock is also non-contemporary. Classical music, jazz music, pop music and rock, all of them have sub genres that are better associated with certain eras. All from baroque, Viennese classicism, romanticism, impressionism, expressionism, Tin Pan Alley, gospel, blues, ragtime, country, bee-bop, free jazz, Dixietown, Motown, RnB, soul, etc. Can’t we just stop saying “contemporary genres” as a term to exclude classical/art music genres? It is condescending. Also, none of my bel canto teachers have said to me “Sing in head voice” or “Sing in chest voice”. Those terms are only used when analysing the result of how a performance went. If we tell a student to “make the vocal cords meet”, the student will start pushing them together, and this will kill the voice. Apart from these concerns of mine, I really love that you mentioned that it is first of all a method, and not a genre or style of music. This is a big misconception that “Bel canto is only opera and only Italian operas, and only by Rossini, Donizetti and Bellini. Verismo is a different style and Pop is a different genre.” I’m happy to hear someone NOT talking this way ❤❤❤
@@DrDanRobinson I did. I just hope non-classical vocal coaches will stop trying to be combative with us one day, and that all genre-umbrellas of music will be viewed as equally relevant today
Bel canto and mix voice are related but not the same thing. Bel canto is a singing technique that focuses on producing a beautiful tone, while mix voice combines chest and head voice for a balanced sound.
Here's what I don't understand: bel canto singers claim belting is unhealthy, but they bring their M1 up high and almost never sing in M2. Interesting. What is it that bel canto singers are doing differently that makes their TA dominant technique healthier than contemporary technique?
Bel Canto tenors sing a great deal in M2. The singer's formant, around 3000 Hz, is what operatic tenors spend their lives perfecting. There is still some controversy about whether another formant, M3 is involved, but M2 is alive and well in the operatic bel canto tenor.
Here's the kicker. A high level MALE OPERA SINGER can sing their entire range in M1. However, they still use M2 for dynamic or volume control. Head voice or light voice or shifting closer to M2 (though never fully falsetto) is used to sing softly. When properly trained and technique perfect, a male can strengthen their M1 to pull M1 all the way up to B4-C5 consistently, and potentially higher (though it's risky so not done live because the male singer's passagio is at the top, meaning if he fails to muster the strength to hold the tone in M1, his voice will crack, which is the body's desire to flip into M2. High level male singing, unlike much male opera today, sing exclusively in M1 except to sing soft or control dynamics) Women on the other hand, are naturally head voice dominant just in their normal range. They are only M1 or chest voice dominant below around e flat in the staff. There is no upper female passagio but instead it is low and the passagio is reverse of a man's. Unlike men, in opera women train to strengthen their head voice muscles, but they also sing in chest voice only at the bottom. Men are basically already belting just by singing in chest voice in strongly like male opera singers. Women, in order to belt must strengthen their chest voice so they can sing lightly heavier than normal. The downside is that when a woman becomes a belter, she is able to sing with more power and weight in the mid and mid upper range, but she still can only pull up the chest voice so high...usually around F or G above the staff before she has to flip into a lighter engagement of the voice. The reason it's dangerous is not because it's unhealthy, but because there's lots of risk involved. The female cords are thinner and smaller and sing an octave higher, meaning they are vibrating faster. This is dangerous to belt, because it's very physically demanding, and the female cords, being small and thin and vibrating faster, are much more susceptible to injury, especially in belting, thicker cord mass is vibrating, and there's a tendency for belters to try and push and push the heavy function as high as they can, but women can only belt so high before they simply cannot without strain. And it is the strain that puts tension on the cords and requires more physical strength. If the support and voice muscles can't produce the sound without tension or without proper resistance of the airstream, or holding up the note with the throat muscles (imagine a body builder struggling to hold up a huge weight), either tension will ensue, or the singer will flat out not be able to muscle the note, which might not be so noticeable immediately in the sound, but the cords take a HUGE HUGE beating. So it's not unhealthy if your throat and support muscles are strong enough and if you can learn to do it without tension. It's dangerous. High level opera singing is dangerous for the same reasons. Men eventually get the strength to sing considerably more chesty and heavy than women, and they eventually are trained to pull the entire weight from very bottom to very top. This is why the best male singers have such a powerful sound, at least equal to women, even though they're singing an entire octave lower. You will hear people tell you it's impossible for a man to sing past G4 in chest voice, but this is only true without high level training or technique. All of the best singers of old took the FULL chest function to the top when they wanted to sing with full power. Mario Del Monaco, Caruso, Jerry Hadley, Beniamino Gigli, Lauritz Melchior, Richard Tucker, Lauri-Volpi etc
Sean O'Donnell don't let someone tell you belting is unhealthy either. It can be very unhealthy! But with proper training and strengthening of the muscles and learning proper breath control can make belting no more unhealthy than speaking. When Whitney Houston or the best male opera singer blast out their biggest notes, with correct technique AND TRAINING OF THE MUSCLES(!!) it's no more damaging than speaking. Without proper training and technique you can seriously damage your voice
It seems Bel Canto singing is going out of style, and not so important anymore, there is a down playing of the methods used. Leading to a decline of the teaching of Bel Canto method.
i think people is making this so difficult, bel canto = opera how difficult was that? bel canto was used to described the way of singing used in opera.
Don’t worry. A pop singer can sing Vaccai all day long, and they’re not going to “accidentally” sing like Luciano Pavarotti. That singing is gone. Nobody has any idea how to produce the huge, dark voices of opera’s Golden Age.
Ron, perhaps you haven't had the opportunity to watch the 400+ other videos on my channel; the vast majority of which have practical voice instruction for your enjoyment and learning.
No Transition. Horrid to think someone is paying a teacher to teach him to handle registrations. there is only one voice. one register only. DO NOT go to a teacher who says there is a -Head voice
hi Dan,yes this Bel Canto has been used as almost as a system for the purists in singing, ive had 50years in vocals, and used Belcanto even in my ACDC singing, and believe me this has helped on the higher notes, 52 years on the road, and nobody knows it all, but i know Bel Canto, and it can be used in contemperary singing, if the singer knows how to adapt and mix the two styles
Adrian, thanks for sharing your experience.
Steven Tyler: laughs and says, "hold my cigarette" as he proceeds to hit an E6 in the song "Crazy". Not to mention him still doing it at 72
Hahaha Steven Tyler brought me to watch this!!!!
Steven brought me here
@@emarry1686 ]p]
@@Tonkybro3 SAME
Yep. Haha, awesome.
Dimash Kudaibergen is a pop singer but has an operatic style..that's where I first heard about Bel Canto
I heard it bc that’s how Steve Tyler sings
That boy dimash sing in so many style
There is nothing "bel" about Dimash' "canto".
Dimash is an operatic vocalist before pop
@@theseeker2586 What
Have you heard his operatic voice?
He works with many vocal technics, but it is defenitly a bel canto technic in his operatic voice
Myles Kennedy uses Bel Canto technique and he sings in Alter Bridge(Contemporary Rock Music)
Thank you for the info, I started looking this up after watching some Floor Jansen videos that are popping up about her stint on this seasons beste zangers nl, but while some of the vocal coach reactions state she's got classical training some did not credit her with operatic technique. I've watched her many times and I know she CAN switch to pure operatic technique and does when it suits her, her best weapon is that she can go back and forth between many styles at will and with perfection. But someone in on of the episodes mentioned bel canto and I could not identify the technique because I didn't know what it was. The first time I'd heard of it was in the first Phantom of the Opera released for T.V. (My wife has it on VHS.) and there was a line in where Carlotta says "nobody sing bel canto without training god doesn't allow it" back then I would never have thought to look on TH-cam for it, but times have changed since then. Thank you again for info. ;)
Dear Dr Dan,
Thanks very much for this video! As one of those uninitiated, the concept of Bel canto was intimidating at best, a mystery at worst...so I steered clear!
You're right, so much about it on TH-cam! Thanks for taking the time and effort to tease out the basic points and present them to us this clearly.
Stay well,
Linda.
Very thoughtful and balanced perspective.
Thank you for explaining the Bel Canto method. I have never heard of this method until I went to the university music dept online near where I live. I was looking for something else and found that they use the Bel Canto method so I youtubed it. Thank you so much.
Bel Canto was a period in Italian opera after Verdi / Classical period. The most famous composer of that period was Belini. Bel Canto operas are obvious by the vocal gymnastics needed to sing the arias. I get tired listening to them, but I feel the same way about some contemporary female vocalists who cram countless 16th and 32nd notes into a song to interject emotion. Same concept, different era.
Good discussion. I think every "school" has something to offer. Like reaching into the tool box for that right size wrench
My first encounter with BEL CANTO singing technique, was in 1974. Myself and a fellow accordion player, found ourselves (dont remember the particulars) working with a man named ANDRIAN ROSATI. He explained that his singing was called BEL CANTO, meaning BEAUTIFUL SINGING. He said that he would sing at the USO SHOWS, during the SECOND WORLD WAR. He said that when BING CROSBY was scheduled to sing, but was unable to sing, due to a health issue, MR ROSATI would fo so without the use of the microphone.
I am a big proponent of learning to take M1 up to the highest notes possible. It is a road less traveled, and full of challenge, but as a working singer, I have experienced the benefits and continue to experience the benefits. I have incorporated some of the Bel Canto elements into my Rock and Motown vocals.
VIDEOHEREBOB road less traveled but the higher road indeed
So are you going to demo it or ??
It’s funny. I heard the term used to describe a person’s vocal *sound* and approach…he certainly fit all required facets that define it. But the instructor by no means was saying it can be taught. This is a famous singing drummer that has tremendous sustain, seamless transition from chest voice, and a warm roundness to his tone that almost, ironically, sounds like a bell that seems to *ring* when he’s singing in a particular register. (While pounding away on his drums.) To my knowledge, he has had no instruction, but has merely developed a style that is conducive to sitting at a drumset. He really is a freak. 🤣 Anyway, thank you for this. I can still understand why the description was used, even if it’s not necessarily possible. (I don’t know if you still read these comments.)
Some of the names mentioned below make me laugh. It’s definitely not just about vocal range.
Studied bel canto technique, can sing anything easily after 3 years of training.
Not intended to be negative of voices or horses. Some are quarter horses, or thoroughbreds, or plow horses. Please excuse this simple comparison. Nevertheless, all voices can benefit from from this method. 1. Sing the words. 2. Sing as you speak. 3. Breathe as you live. This training, most importantly, is very natural, which is vague when stated as such. Be well.
mate, the 18th century Italian Opera you refer (2:14) was not the Bel Canto school. 18th century (1700-1799) is the classical period of singing that has very little to do with Bel Canto. The Bel Canto term applies to 19th century Italian Opera and the Holly Triad of composers Bellini, Donizetti and Rossini while one could also add the young Verdi. As u also realize the term also does not apply to the Italian composers of the Verismo school which came at the end of 19th and early 20th century. This is common knowledge among opera people.
the late 18th century and the 19th century this Method was used by several famous teachers and yes after 1900 it was seen in schools. But famous teachers had published much earlier than that. The term is very vague also. What you say is accurate to a point. It is not just the three composers it also refers to a method of teaching voice during that time period.
It was not named in bel canto but was there. Rossinian opera is a good example as the romantic tenor evolved in this era and was based on the tecniques of bel canto to aquire a light soft sound.
Solid explanation. While I follow the same understanding of similar steps for great singing (without subscribing to the term Bel Canto) I think that this training regimen is essential for even contemporary styles...for both the longevity of the vocal instrument as well as the greatest flexibility for expression. Just like an athlete cannot reach their highest achievements by only drinking protein shakes and lifting dumbbells', a vocalist must master these different disciplines of singing in order to realize their ultimate ability. And these disciplines involve understanding the mechanics of human physiology. The same one for all of us. Even Steven Tyler! Mr. Tyler has had his share of major vocal cord problems too. You bet he now sings a whole step down these days. Sometimes new undisciplined contemporary singers just pick a style from the current flavor of the month...that they can imitate most readily...as opposed to learning great technique from the onset and having many more colors of the vocal palate to choose from.
I certainly do not use the term Bel Canto to "dazzle" the student. I have been a pop/jazz singer for over 30 years and studied with a classical Bel Canto 2 years twice a week before singing professionally. We only worked on Bel Canto technique and no repertoire whatsoever. It has served me tremendously well, as sometimes I was singing 5 hours a night, as well as accompanying myself on piano. And I always had prime vocal health because of it. So yes, I advertise that I teach Bel Canto, because I have truly walked the talk.
Good explanation, and it seems right on. I'll look for your discussion of falsetto, which has different definitions in the public arena.
Thank you for sharing so much knowledge on your channel!
Thank you for this - very interesting information. I was wondering if you might be able to weigh in on what verbiage I might use to seek out a voice teacher who could help me sing with the clarity and beautiful clear tone of a singer like Sinead O'Connor or a lot of the Irish singers singing pop/rock without a ton of vibrato? I seem to really gravitate toward Irish pop/rock singers and am trying to identify what the common ground amongst them is - beyond that they often seem to have spot-on pitch and a very clear - never raspy or nasaly - but very natural tone. And there is a kind of beautiful lilt to it too - not sure what technique this is? I don't know how to search for what I am looking for and appreciate any guidance. Thank you.
Hi, Heidi-Jane S. Bookkeeping Services. You may find my online singing course helpful - drdan.co/onlinesinginglessons. Feel free to check it out sometime. The first module is free to preview!
really informative but i was disappointed that u didn't show even a single example
Because he doesn't really understand it. He probably googled the term before making the video. Everybody always wants a short cut in life and Bel Canto doesn't give short cuts.
@@paulpena5040It's an info video, not a training video.
Some examples would be good. Bel canto, collaratura are terms used aesthetics as well as stylistic. For example Richard Strauss uses elements of Bel Canto but it’s rarely found in Britten yet they were composing at the same time. Pure and seamless Vocal line often requires a bel canto approach. Basically where ever there is a strong melodic scale and virtuoso singing. I don’t him there is much of that in contemporary popular music any more. Even in musical theatre the belt register dominates. In my days as an opera singer that type of singing style was called Can Belto.
Beyoncé has the bel canto technique embedded into her voice (head voice is more dominant with it) :)
Hey Bottom
Yes. It was actually one of her many trainings during Girl's tyme/Destiny's child days with her former vocal coach Mr. Lee Brewer. No wonder she still has her voice stronger than ever 22 years in her career.
You’re fucking idiot to really say she had a bel canto technique.
I think we hear this discrepancy when classical artists attempt "crossover" ... the sound they make might be technically accomplished but it usually gives a very stiff and formal impression.
Because they don't have proper technique. Most of them have voce ingolata instead of a development of the core and depth of the voice properly.
Listen to Dimash
Bel canto does not require vibrato in every aspect of the song. You should listen at Rossini's repertoire. Colorature singers would lose a lot of resources if they don't use the vibrato differences. This video has a lot of misconceptions and it's sad that you couldn't search more sources about it and confront those with examples. The treatment of the voice is much more strict based on natural resonance categorizing those so they can be assigned into a character role. Does not fit the idea that every voice can be trained in everyway and perform every piece. Even if you use a microphone the compression of the voice and the harmonics richness sounds contrasting. The management of the vocal registry is also different because it tries to avoid falsetto, relying on the head voice. This technique can be mixed with new ones as long as they don't use a different projection.
I studied bel canto 40 years ago. I was told it was based on the Italian vowel shapes which creates 'beautiful singing'. The ring is called squillo is it not? I have been singing all music styles for 45 years, with some of those years using the bel canto method of open vowels. Few pop singers use this style although Celine does with nasal resonance. Adele sort of does but closes down too much to have full on bel canto. She uses her throat a lot. That video that's out of the gentlemen showing singing on the inhale is nonsense. My choir teacher told me to sing 'as though' I was still inhaling in order to help keep the throat open and maintain support. But you cannot sing while inhaling.
I mean I can do a pretty broad Melody range through inhale with decent clarity 🤷
I've also basically studied nothing but tonal screaming as well as vocals fry and false chord both exhaling and inhaling. I will say inhaling feels like it could def be damaging, but I do think it's possible to sing with it. Then again I am by no means a professional just stating from things I've seen.
Inhaling while singing mostly refers to raising the soft palette, and keeping the position of the mouth consistent and primed for breathing in so as to not produce large sounds when actually inhaling.
You're not supposed to actually sing while inhaling.
The technique is useful for choir because when everyone inhales at the same time, it is very audible and distracting.
I can talk and sing while breathing in and holding my nose closed
I semi disagree with you, but I don't know if you call this disagreeing. I feel bel canto is something that all singers and all singing teachers use, but in different ways depending on their intended genre or style. Another thing: it's not as controversial as you make it out to be because very few voice teachers know how to teach what they know (if they can teach it at all) in a flexible manner. They think students will just get it by doing things only one way without explaining all you can in any way you can, which I feel is sort of ridiculous.
Oddly enough, if I remember correctly, I recall reading a reference to 'the Bel Canto style of the old Italians' in a copy of a violin treatise (I believe Joachim-Moeser). In that era and style of violin technique, portamento was critical, and vibrato was used deliberately and sparingly as an ornament, often in imitation of the style of a talented singer pushing their voice (in a good manner). I suspect the demand for constant vibrato in singing is a development that came about in the latr romantic and into the modern era
Steven Tyler is the best bel canto singer
Just like the best songwriters who absorbed many influences like a sponge to broaden their musical knowledge and artistic palette, I see nothing wrong with adopting different vocal techniques if it gets you from point A to B and helps you find your voice. Freddie Mercury most definitely employed Bel Canto technique in his style, yet also adopted different contemporary vocal approaches as well. His deliberate and beautiful falsetto range was contrary to Bel Canto, for example.
I don't know very much about bel canto or any other technique, method, style, etc.
I do know that 13yr old Amira Willighagen has one of the most beautiful voices I've ever heard..
Do you consider Johnny Maestro ("Worst that could happen" '68) Bel Canto? Paul Shaffer referred to him as such.
How about another video with examples of singers in popular music who attempt Bel Canto.
HI Dr. Dan! quick question; recently I've been covering some 80's hair metal songs, Warrant/Poison and the like. As a baritone, I'm thrilled to be able to sing these songs in the original key. however, i have a much bigger/"manlier" tone up top compared to the original artists. I would love to have a more light tone like theirs. is the bigger sound merely a side-effect of the baritone voice, or is there a technique you recommend to help with sounding more tenor-esqe? all the best!
Dr Dan's Voice Essentials thank you so much!
Cool channel Dan i just saw you with Tim and here i am....I'm suprise you have over 19K subs and this video uploaded at Sep. 19 and i see 800 views only??? WHY??
Very cool explanation!
Most informative. And as a bonus I found out what some are on about re M1 and M2, unsure if there are M3 to M∞ though.
There's a lot to be said for being able to produce that resonant ring which comes from a focus on placement, a la bel canto training. My voice sounds better with it, in almost all contexts, though you can always tone it down it seems. Lots of contemporary singers seem to use it too, very helpful concept for me.
Opera style vibrato is a bit niche though.
Yes I've had instruction on twang in a contemporary context recently. I''d been thinking about this lately actually, I guess the underlying principle between twang and the classical 'squillo' is the same, and it's just different instructional methods, focus on other elements stuff like that maybe. Both approaches and exercises produce similar desirable overtones. I"m no voice expert at all but it seems something like that.
There's nothing niche about operatic vibrato. The characteristic huge operatic vibrato that's common perception is actually not good or correct vibrato. It is a vocal wobble. True bel canto vibrato is extremely beautiful and pleasing and entirely natural; it is 100% non manufactured. It appears naturally when the voice is perfectly extremely relaxed during inhale exhale and onset of the tone which requires very specific and coordinated muscle coordination of the torso. The result is a sound as if floating on the tone. The vibrato appears from the larynx slightly bobbing up and down evenly from the perfectly balanced and sized airstream
Belcanto has nothing to do with placement. Placement is a modern pedagogy term.
@@Paljk299 Nop. I used to think that, but twang and squillo are actually polar opposites. Twang comes from a constriction of the larynx that makes it smaller so the vocal folds themselves are closer and it's easier to get them together. Squillo or core is achieved not by the constictive nature of twang but by the development of the muscles that naturally make the vocal folds come together, the thyroaritenoid muscles. Which are phonatory mucles. Twang is created through the engagement of swallowing muscles (the aryepiglottic sphyncter).
In (old school) classical singing the lowering of the larynx creates a bigger pharyngeal space that increases the depth (bigger resonce chamber), while the thyro-aritenoid muscles creat proper abduction of the vocal folds which gives it the core or squillo.
@@stone8193 this is a misconception. Vibrato is a pulsation that has to be developed. It's not something that appears on it's own. Good vibrato needs a proper release of the air and proper vocal fold abduction, but it's not happening spontaneously.
Hello Dr Dan ! I am new to your channel and I admit the work you are doing is very impressive. I was also impressed by your explanation of Registration in other videos. Though I have a query related to this topic. Earlier I started with "Bel Canto" and I was using an old vocal instruction book called as Method of Singing by Alberto Randegger Professor of Singing at the Royal Academy of Singing, Philadelphia. Other than Chest and Head , He mentions Pharyngeal Resonance(Widening or Shortening of Pharyngeal Cavity) which is supposed to give color to the voice. Some Renowned Vocal teachers assure that it's the Use of Color which enables a Singer to sing Different Genres & Styles. But you have completely overlooked the use of Pharyngeal Resonance. I would like to know your take on Pharyngeal v/s Aryepiglottic Sphincter( Vocal Twang) and what do you think how each one fits in into the Arsenal of a Contemporary Singer.
Dr Dan's Voice Essentials Thank you Dr Dan . I am really hooked on to your channel right now and I hope it would up come with some awesome videos and information in the future too.
Did anyone else come from Youth With You when Roada Xu said she learnt Bel Canto. No one ok 👋
I'm here from Chuang 2021 after looking up Zhou Sheng & learning he studied it 👀
She did? ;0; Came here after learning Kin from Youth With You 3 claims to be good at bel canto and I am just speechless in the most respectfully disagreeing way ;-;
I have a doubt...is it possible to learn both belcanto and Carnatic singing
Such a tenor
You are pronouncing it incorrectly, but it would appear you would know that. Bel canto, is a technique, method, etcetera, that builds the voice, teaching the singer to be able to play their instrument. Voices can be compared to horses, not intended to
Thank you so much for addressing this issue.
Awesome! Thank you :)
I'm glad you enjoyed the video Kimberly Haynes. Thanks for watching.
Thanks, mate.
You're welcome Madhu Menon. Thanks for watching.
It's just struck me that you could do George Formby tunes to a tee, you've got just the right kind of voice. I could never do 'em, imagine Johnny Cash trying to sound like the Emperor Of Lancashire.
Inserts video of women shopping @2:56 to distract fellow vocal coaches. Genius!
Hi Dan, you mention the word falsetto. I assume that you understand that it is not the same as head voice when we are speaking of the male voice. Head voice is connected whilst falsetto is not. I encourage male students to use head voice as a stepping stone to the full voice. Also a great tool to gently extend the range and give light and shade to their songs. Cheers
You can hear a full explanation of my use of the term, Falsetto here - th-cam.com/video/x5-QoU4RlhM/w-d-xo.html
Falsetto is strictly in the ‘head’ and only uses the thin, leading edges of the vocal folds to vibrate producing a thinner sound. Head voice can be defined as a ‘mix’ of chest and head voice, which is generally a stronger sound than falsetto. This is a better way to think about these two terms.
I’m a bel canto singer. What I just hate is how some singers say “classical music and contemporary genres”. Classical/art music is also contemporary, jazz, (pop) and rock is also non-contemporary. Classical music, jazz music, pop music and rock, all of them have sub genres that are better associated with certain eras. All from baroque, Viennese classicism, romanticism, impressionism, expressionism, Tin Pan Alley, gospel, blues, ragtime, country, bee-bop, free jazz, Dixietown, Motown, RnB, soul, etc. Can’t we just stop saying “contemporary genres” as a term to exclude classical/art music genres? It is condescending.
Also, none of my bel canto teachers have said to me “Sing in head voice” or “Sing in chest voice”. Those terms are only used when analysing the result of how a performance went. If we tell a student to “make the vocal cords meet”, the student will start pushing them together, and this will kill the voice.
Apart from these concerns of mine, I really love that you mentioned that it is first of all a method, and not a genre or style of music. This is a big misconception that “Bel canto is only opera and only Italian operas, and only by Rossini, Donizetti and Bellini. Verismo is a different style and Pop is a different genre.” I’m happy to hear someone NOT talking this way ❤❤❤
I'm glad you enjoyed the video.
@@DrDanRobinson I did. I just hope non-classical vocal coaches will stop trying to be combative with us one day, and that all genre-umbrellas of music will be viewed as equally relevant today
Is bel canto same thing as mix voice?
Bel canto and mix voice are related but not the same thing. Bel canto is a singing technique that focuses on producing a beautiful tone, while mix voice combines chest and head voice for a balanced sound.
Here's what I don't understand: bel canto singers claim belting is unhealthy, but they bring their M1 up high and almost never sing in M2. Interesting. What is it that bel canto singers are doing differently that makes their TA dominant technique healthier than contemporary technique?
Bel Canto tenors sing a great deal in M2. The singer's formant, around 3000 Hz, is what operatic tenors spend their lives perfecting. There is still some controversy about whether another formant, M3 is involved, but M2 is alive and well in the operatic bel canto tenor.
Here's the kicker. A high level MALE OPERA SINGER can sing their entire range in M1. However, they still use M2 for dynamic or volume control. Head voice or light voice or shifting closer to M2 (though never fully falsetto) is used to sing softly. When properly trained and technique perfect, a male can strengthen their M1 to pull M1 all the way up to B4-C5 consistently, and potentially higher (though it's risky so not done live because the male singer's passagio is at the top, meaning if he fails to muster the strength to hold the tone in M1, his voice will crack, which is the body's desire to flip into M2. High level male singing, unlike much male opera today, sing exclusively in M1 except to sing soft or control dynamics)
Women on the other hand, are naturally head voice dominant just in their normal range. They are only M1 or chest voice dominant below around e flat in the staff. There is no upper female passagio but instead it is low and the passagio is reverse of a man's. Unlike men, in opera women train to strengthen their head voice muscles, but they also sing in chest voice only at the bottom.
Men are basically already belting just by singing in chest voice in strongly like male opera singers. Women, in order to belt must strengthen their chest voice so they can sing lightly heavier than normal.
The downside is that when a woman becomes a belter, she is able to sing with more power and weight in the mid and mid upper range, but she still can only pull up the chest voice so high...usually around F or G above the staff before she has to flip into a lighter engagement of the voice. The reason it's dangerous is not because it's unhealthy, but because there's lots of risk involved. The female cords are thinner and smaller and sing an octave higher, meaning they are vibrating faster. This is dangerous to belt, because it's very physically demanding, and the female cords, being small and thin and vibrating faster, are much more susceptible to injury, especially in belting, thicker cord mass is vibrating, and there's a tendency for belters to try and push and push the heavy function as high as they can, but women can only belt so high before they simply cannot without strain. And it is the strain that puts tension on the cords and requires more physical strength. If the support and voice muscles can't produce the sound without tension or without proper resistance of the airstream, or holding up the note with the throat muscles (imagine a body builder struggling to hold up a huge weight), either tension will ensue, or the singer will flat out not be able to muscle the note, which might not be so noticeable immediately in the sound, but the cords take a HUGE HUGE beating.
So it's not unhealthy if your throat and support muscles are strong enough and if you can learn to do it without tension. It's dangerous.
High level opera singing is dangerous for the same reasons. Men eventually get the strength to sing considerably more chesty and heavy than women, and they eventually are trained to pull the entire weight from very bottom to very top. This is why the best male singers have such a powerful sound, at least equal to women, even though they're singing an entire octave lower. You will hear people tell you it's impossible for a man to sing past G4 in chest voice, but this is only true without high level training or technique. All of the best singers of old took the FULL chest function to the top when they wanted to sing with full power. Mario Del Monaco, Caruso, Jerry Hadley, Beniamino Gigli, Lauritz Melchior, Richard Tucker, Lauri-Volpi etc
Sean O'Donnell don't let someone tell you belting is unhealthy either. It can be very unhealthy! But with proper training and strengthening of the muscles and learning proper breath control can make belting no more unhealthy than speaking.
When Whitney Houston or the best male opera singer blast out their biggest notes, with correct technique AND TRAINING OF THE MUSCLES(!!) it's no more damaging than speaking. Without proper training and technique you can seriously damage your voice
It seems Bel Canto singing is going out of style, and not so important anymore, there is a down playing of the methods used. Leading to a decline of the teaching of Bel Canto method.
i think people is making this so difficult, bel canto = opera how difficult was that? bel canto was used to described the way of singing used in opera.
A lot of singing teachers blind their students with science. o.o
And good singing teachers educate their students with science...
@@DrDanRobinson whith proper science though.
Don’t worry. A pop singer can sing Vaccai all day long, and they’re not going to “accidentally” sing like Luciano Pavarotti. That singing is gone. Nobody has any idea how to produce the huge, dark voices of opera’s Golden Age.
So the bel canto technique is not good for contemporary singing? It's solely for classical singing, right?
MUSIC LOVER not solely. Beyonce has perfect Bel canto technique and she uses it in most of her songs
@@KaentukiTheFuki only for her lower register. Its not consistent for her upper register
anyone here bcuz of Siyeon
Belcanto is far from being ambiguous.
can u plz make a video on justin bieber's singing techniques? plz
What singing technique?
Thumbs down because, voice teacher that he is (and prolific speaker), he, for some reason, could not bother to demonstrate any vocal technique.
Ron, perhaps you haven't had the opportunity to watch the 400+ other videos on my channel; the vast majority of which have practical voice instruction for your enjoyment and learning.
Bel Canto. C a ahh nto. Not a can of beans.
No Transition. Horrid to think someone is paying a teacher to teach him to handle registrations. there is only one voice. one register only. DO NOT go to a teacher who says there is a -Head voice
You should not teach bel canto
Haha, Lee. Did you watch the video?
Wow your speaking voice sounds like woman