Tenor singing above high F during lesson
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- เผยแพร่เมื่อ 16 ต.ค. 2024
- John Paul Miles teaching high tenor Matt Wilding;
www.johnpaulmiles.com
John Paul teaches in London and Berlin!
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I started taking Skype lessons with Master Paul, I can only say that the teachings I received, to me are priceless, and allows me to understand his videos at its fullest, and get the very most out of them. I highly recommend, your vocal health is worth it, the videos alone to my experience are not enough, trust your true instinct, you wont regret it, and thank you master.
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There's a PayPal link on my website and you can email me directly at johnpaulmiles@yahoo.co.uk
If you want to hit high notes, absolutely make sure you find yourself a teacher like the one in the video. I am a bass who used unhealthy belting technique and pulled chest up to G#4 frequently. I would always tell people I wasn't straining, because at the time I wasn't. I now have vocal damage and am lucky if I can sustain an F#4. My voice also becomes easily irritated and tired. Learn from my mistakes and know your limits! Not worth killing your voice to sound like a voice type you're not.
That sucks to hear. the same thing happened to me. i will regret it forever.
Im tenor or better Countertenor ant hit C#6
You sound more like a tenor
I am starting Voice Lessons, tomorrow: This terrifies me!
But I need to go in this direction.
I know it.
@ioannis2201 The only men who can do that in full voice are castratos or people with a medical/hormonal problem that stops the larynx developing after puberty. Literally, I am not aware of a single man who can do it aside from people like de Sa. So go ahead and make a channel, youll make good money!
I've been looking for someone who understands this method for at least 50 years now and finally found him! I was introduced to this singing method when I was 18 years old but could not find an actual teacher until now. I retired in 2015 and since then have been trying to achieve my life long goal of developing my singing voice and now because of John Paul I can see a path to success. The old adage still rings true "It's Never Too Late". Thanks John Paul!
You're welcome!
Falsetto is a really useful tool in voice training. If you can get the voice to move effortlessly between falsetto and chest registers then the more subtle adjustments needed to change pitch in mixed voice will be much easier to accomplish without strain. You can also use falsetto as a pre workout stretch. I would recommend finding a teacher who has a good knowledge of this as it is not easy to find pure falsetto. Most people use a constricted head voice which does not help free the voice.
Y de eso se trata el libro de Anthony Frisell, el recomienda fortalecer el falsete primero y luego el registro de pecho.
i can't believe that his voice hits that high! he's amazing!
This is the perfect exercise to blend for a countertenor or any voice type tbh. It works so well, the top down technique.
Sounds like his modal voice ends at around Eb5-E5 (the difference between chest and head becomes less noticeable) but dang that's still really high
Ethan Hayden this is exactly like me :0 omg
@Lordu is correct. He was using head voice which is indeed part of the modal register. The vocal exercise he is doing would be impossible to do correctly if he were flipping into falsetto; notice that his voice slides between each note with no vocal "break" or "flip" up into falsetto range.
"Support" messes people up because they mistakenly think of it as an abdominal push or squeeze, rather than an expansion that stretches the diaphragm like the head of a timpani (I know, in the singular it's really timpano). This energizes even a small amount of air so that it vibrates the vocal folds sympathetically, eliminating the need for them to vibrate themselves via the muscles of the throat. It's like the difference between setting a tuning fork on an already vibrating surface vs. whacking it on a table. A retired baritone I work with who teaches this can bend over, exhale all the air that he can without forcing out a second exhalation, stand up and still sing a ringing high C# better than most tenors--this despite his age (70+) and multiple serious chronic illnesses. Every one of his best students that I've known in the last ten years, most of whom were nothing exceptional when they first came to him, are establishing successful careers in the US and Europe.
Indeed! I do a similar demonstration for my students just to prove that they don't need to take in much air in order to sing. Who is your teacher?
Exactly--the quantity of air makes no difference if it is not properly energized. The teacher to whom I referred is Andreas Poulimenos at Indiana University. To clarify, although I have taken a few lessons with him, my association with his studio is primarily as the pianist for several of his students. (Also by "retired" I meant from singing, not from teaching.)
Paul Pisano Just listened to him - what a voice! You can see him breathing the way you describe with just a little relaxation of the abdominals. Thanks for your comments.
JussiPaul Yes, whenever he demonstrates a breath he looks like he's sitting down into it, which of course would be impossible without that relaxation. Some of his recent "alumni" off the top of my head to watch for: Aleksey Bogdanov (bar.), Angela Brower (mezzo), Justin and Rachel Moore (bar. turned tenor/coloratura sop.), Joshua Lindsay (tenor), Jason Wickson (tenor). Raymond Aceto (bass) is one of his older students.
Where can I find out more on this method of breath support?
Your student's voice is great by the way! I love the feel of release you get when you get up around B4 and up
First he goes straight to the note in falsetto and then goes the "in maschera" way to the same note, especially in the last one. keep practicing like this. Fabulous!!
The truly great tenors build up vocal strength by applying this register training. Listen to any recordings pre 1940 and you will hear this. The tenors of today have very little strength. They sound big on the recordings but live is a different matter entirely.
You are 10000% right, strong tenor and soprano voices are missing. I don't like Juan Diego Florez or Kaufmann, I prefer Pavarotti, Corelli, Callas, Caballé, they voices were powerful! And excuses for any mistake, I don't speak English 😁
@@Antonio-qm3bi Your English is perfect and thank you for your comment!
@@JussiPaul The modern tenors sound lighter than mezzo-sopranos smh 😂
I also love how you commented that most people use a "constricted head voice." I call it "squeeze registration." Instead of laryngeal pivot and the healthy rocking of the larynx to stretch the cords longways and keep the thin edges relaxed and free, most singers use a shrill "light and bright more forward" approach that instead constricts and tenses the edges of the cords to raise the pitch by making the edges rigid. It's a distinctly different shrill sound, and it's jaw dropping how you can hear vocal health deteriorate ON THE SPOT as the cords swell!!!! While you were getting a little ambitious with the super high in this video, the actually useful range was coming along beautifully!!!
@ciociosan The exercises are designed to take the student out of their comfort zone and hopefully achieve vocal release. Matt has perfect pitch when singing repertoire so it is not an issue I need to address in his case. A vocal coach's primary role is to listen out for functional imperfections and correct them. Beauty of tone and good pitch are a side effect of healthy chord function not an end in themselves. There are plenty of bad singers who sing in tune. I've no wish to add to their number!
I had to come back a few weeks after seeing this video and thank you. That ooo-ahh-ooh exercise has clarified so many things for me and make high notes so easy. I've always been able to get up to those B and C notes, but never really knew the right way to do it. And at the end of even a bit of singing, I would lose my lower notes due to inflamed cords. Now I finally understand the appropriate configuration for those higher notes. Now they are shockingly easy. And I've actually gone up to a D5 in full voice, with a similar timbre to the singer above. So I know I'm doing it much more appropriate than I was before. Finally feel like I now am on the right path.
Years of sorting out all the confusing messaging, and then I finally found this. I can sing from C4 to C5 without losing/straining my voice. :)
That's great! I'm glad that you're finding the 'release' for the high notes.
@@JussiPaul I always thought I was "releasing", but realize now that I was carrying the same amount of release that I was using for an F ...all the way up to C. It wasn't a yell, but just too much weight. Far too belty. I have even adjusted my F to be lighter than I used to so that I don't tire out so quickly. I am also shifting/modifying sooner than I used to. Bb3 is where my voice needs to start to shift. Not D4, like I used to think.
@@ParadNorthProd Yes, the Bb and B are like pre-passaggio notes that need a bit of modification too!
Mine either a belt or too light. Aghhhh will try this. And does the cry method help. Like a light grunt to get the cords together or is this completely different. Need a teacher lol
YES, YES, YES. This is spot on, Jussi. So good to see that there are teachers who have held onto or discovered the proper listening and exercises for addressing functional registration issues before aesthetic ones. Great job!
Both teacher and student are great. I wish I had a teacher like him.
Thanks for your comment! I do give Skype lessons if you`re interested?
That was a high F#5....That's really high for us men. It's amazing how some of us men are blessed with these high notes. I'm curious at this point.....Has any operatic/classical/belcanto Tenor done an F#5 or possibly a G5? I know that you need an F5 in the Puritani aria in opera.
Not that I know of. I can sing above F5 but it is impossible to get any power in those notes so they are useless as far as performance is concerned but useful as a vocal workout just as the 'fry' notes at the bottom of the voice are good for vocal health but would be in audible without a microphone.
Dimash kudavergo
there's a high F#5 in my aria titled "North Dakota, Yes Me With Thy Power!"
@@thelinebetweennothing4601 He sings amplified so he can create more tension with the chest mechanism as he doesn’t have to worry about the same ringing quality in the classical extension.
Please check out my Bass Singing Lesson video as it contains lots of information about the 'Old School' way of singing.
Hey! have a nice day, pls sir can u tell me, if i practice to do Stronger my mix Voice 2 hours daily, in how much time i will got a Finish Mix ? with the 1st and 2nd Passaggio realized Mix-chest - Mix-Head?
I wouldn't recommend doing two hours practise, one hour is sufficient. There really is no time limit to these things. If you get the right advice and take it very seriously then success will come sooner than if you take the wrong advice and destroy your voice in the process.
+JussiPaul thanks u very much! Unfortunely Here in Venezuela nobody Know to Mix, they just lie u to accross the passaggio with Chest Voice or tell u to use Falsetto. I was doing that, but i hurted my troath, but i really happy to now take the right and healty way! I have now like close 1 month since i started the training of Mix Voice. First time was weak like a Falsetto, Now people think is real Voice, is not Pretty yet but i happy 😆! I know is becoming Stronger and Stronger! I was taking lesson with 3 classic teachers, and they both didn't know Mix. I was in 2 chorus of my City, the didn't know Mix too. and Finally i was with another 4 popular teachers they didn't Know mix too. I'm 16 years old, I have 3 years singing, but 1 since i discover Vocal ranges, and for a year finding Mix, now i know how do It! 😆😇😄
Good for you! I wish you all the best!
I can harmonize with him in some of the falsetto-head voice exercises. But I've never trained to sing in this way, in fact, I've never had a vocal coach.
People tell me I'm a tenor, a lyric tenor, but feel I need to practice more my high notes. I uploaded a video here of my "vocal range" but some of the notes are yelled, I don't know how to mix. My lowest note is a G#2, and my highest in chest is A4 (F#4 is more comfortable for me and I reached a C5 in what I think is mix, but sounded a bit falsetto-ish). Falsetto is from G4 to G5 (A5 in a error mine hahah but I don't count it).
Awesome! I have some health issues in the way at the moment, but it won't be long before I get it straightened out. I will be looking you up for sure.
Ok, get well soon!
I love the first exercise. The first high pitch is falsetto and the second is in head voice. I might try that one with my high school choir after a yawn-sigh passagio exercise.
VocMus TcrMaloy Be careful with yawning - the yawn will depress the larynx which is not good. Think more dark timbre to negotiate the passagio but try to avoid a full yawn position.
The exercise to which I am referring is a descending glissando slide from the highest falsetto pitch through the passagio into the head, then chest voice areas.
Concerning the "yawn," I have students yawn to find the muscles that move the soft pallet. I then work with four parts of the oral cavity over which the student has control: 1) the jaw, 2) the soft pallet, 3) the tongue and 4) the lips. I encourage my students to consistently keep the jaw dropped and the soft pallet raised throughout singing; to get an open tone quality and, to manipulate different vowel sounds by moving the tongue (from closed to open: ee, ih, eh, α, ah) and the lips (from open to rounded: (aw, oh, oo, ū). As I am teaching the placement of the jaw and soft pallet, I encourage singing with a sigh feeling so that students will not tense the jaw or the soft pallet. When students use the open tone I teach, festival judges give high scores and compliments on the tone quality. I have also had parents proverbially picking up their jaws from the floor in amazement at the sound their children make. It works great for me!
Here is a 4th and 5th grade choir using the tone I teach:
onedrive.live.com/redir?resid=C03CAD5BC3B75976!853&authkey=!AOD37A15OsC4IMI&ithint=file%2cmp3
VocMus TcrMaloy We want the palate to be flexible but the danger with yawning is that not only will the palate rise but the tongue will depress and this will invariably hamper flexibility. Obviously if a student has problems with nasality then we need to address that issue and a semi-yawn may help but otherwise I would advise extreme caution especially with children's voices.
I use yawning to teach the children to find the muscles of the soft pallet, not as a singing technique. I also use coughing to teach the children to find the muscles of the abdominal region so that they may be utilized for singing. Of course, coughing is not good for singing; however, coughing is a great way to demonstrate how to use the abs for breath support in singing. We cough and we yawn ONCE when we are learning technique; but, we use the muscle control learned from those two exercises the rest of the year (and hopefully the rest of their singing careers).
Of course, I don't want the raised soft pallet to be overdone (as in a full yawn); it would then produce a "hooty" tone.
@ciociosan Well spotted! Interestingly, pitch is the last thing to be corrected when training a voice in the correct method. An obsession with pitch can lead to throat constriction. Most choir conductors will ask the choir to smile in order to sharpen the pitch but this leads to elevation of the larynx and hence vocal constriction. It is impossible to sing perfectly in tune when one first experiences an open throat. Good pitch will come later once the voice is totally free from constriction.
WOW !!!! Wonderful moment ! Well...the guidance from the trainer is excellent too, we must say
When the laryngeal mechanism is freely functioning, then the breath becomes regulated and economical eliminating the need for "support" and all extraneous breathing techniques.
I'm 15(turning 16 in two months) and I'm pretty sure I'm a tenor. The lowest I can comfortably go is an a2 while the other notes below that are growls. I can easily stay in the range of c4-f4 pretty frequent and the highest I've been able to go in full voice is an a4-Bb4(but without warm up it can be pretty sloppy). In falsetto I've been able to hit notes as high as the A5 in Bruno Mars' "Gorilla" comfortably(if warmed up I can hit a b5-c6 in falsetto, but it sounds pretty strong). I wanna be given some points on how to possibly extend my full voice range into the c5-d5-e5 range(also help me to find out do a mixed voice) and also help me clean up my a4-b4 notes so they come out cleaner and less constricted. Also, my falsetto range can sometimes be light when it comes to the b4-d5 range. Could this be a sign of my ability, if I practice, to be able to hit those notes in a more full, richer voice?? Thank you sir if you respond!
How cool! This has been really helpful for maintaining & expanding my tenoric capacities. More videos to come I hope!
what is the functional point of these specific exercises? what does it train ?
The TA and CT muscles.
Really great guys loved watching this unfold you both have a great-sounding voice.
Maestro Paul, I am a tenor from Nicaragua and I have 23 years old. I would really like to know where are you from or where can I see you to get some classes with. One of the best things a tenor have know is to get those hight notes you teach in an appropiate way..!! Greetings and blessings..!!
I think I have a similar voice to this guy when I try Classic Singing. I always thought my singing was bad since I lack the strength of Great Tenors but I can reach higher notes. I didn't know it was an "accepted" technique. Thank you for the video. I will apply the tips you gave on it.
I can't ever try to sing and chew at the same time!!
Try it and see!
Is these excercises good only for tenors, or can these be done with lowers notes for lower voices?
These exercises work for all voice types.
Hello! I'm an italian student who's studying vocal technique for the first time. My teacher said that I'm a tenor because he found my passaggio around F#4, but maybe I begin to feel a bit strange already on F4. On the lower register I can sing quite easily down to C3, but on B2 I start to feel I'm going into depth. I can sing also an A2 or even a G#2 giving to them almost a normal sound (almost, but not at all) but on G#2 and more on G2 I'm not in my voice. I can sing down to F2 at my best but it's really really bad. Oh, it's important to say that I'm studying modern singing, with a technique called EVT training. Anyways, I feel that high notes are hard to me, and at the moment I can use a voice that I believe is mixed register up to Bb4 or even to B4, but it is not really my voice, 'cause it's really weak... however, it is not falsetto yet. But when I try a C5 I feel that I must use falsetto. Before I started to study singing I could reach B4 shouting but I couldn't keep it for much time. When I speak I have a voice only a bit higher than most of my friends, not that much, but when I sing I usually can sing much higher than them and with a much lighter sound. Furthermore, my teacher told me that I could be suited for R&B but also for pop music. So I'd like to ask you if you believe I'm a tenor like my teacher believes, or if I'm a high baritone or a low tenor like maybe I think. I'm sorry for my English, 'cause I don't know if I made mistakes in my message! And if I'm a tenor, can you tell me which kind of tenor do you believe I am? Thank you for attention!
I forgot to say that I'm 17 and a half
@@alessandro353 tenor?
If nothing else, this surely helps the Iron maiden/ power metal sound.
he look exactly like Lavezzi , football player, OMG
I have Problems with my Passagio. i can Hit a A4 Clean, and a B4 but with A#4 i have huuuge problems, i use either to much force or simply mess it up. i have huge larynx problems in my opinion and i think thats why i can't hit higher than B4. what would u guess i am? i have practiced for long time and i can't get the C5 to properly work without pure force. then its half nice and half bad. i cant hit it clean. Larynx raises to high. i don't have Jaw Tension or Tongue tension. but i don't know how to lower my larynx. i have tried everything and every exercise but i have lack of patience over all this time. what vocal fach would you put me in? by the way im 22 years old and i sing PoP,RnB, Soul etc. would love to get some help on this. thank you in advance!
TakenEnt If you want some help then we could do a Skype lesson. There are specific exercises that will build up your depressor muscles which need to be strong in order to allow the larynx to remain in a floating position. It's not easy!
I'd love too.
TakenEnt Ok, I'm available until Friday when I go to London. You can contact me and pay for the lesson on my website (details above). I'll be back again on the 5th July. Looking forward to working with you.
@JussiPaul You're a very good teacher, Jussi. This is how I was taught the bel canto technique by my maestro, tenor Benvenuto Finelli. From a strangled octave & a 4th when I began trying to sing, & failing to hit Elvis's top notes, - to being assessed as a baritone by my 1st teacher, tenore robusto by the Guildhall School of music, to then finding Ben, - whose exercises you employ eventually led me to hitting the Bb above tenor high C & a full 4 octaves. Functional freedom is everything. : )
hiyadroogs where do you find teachers like that?
omg , the way he swithes scales, using falsetto. And his belting is great.
After six minutes the singer even got little rasp/compress to some highest notes?
Or what it is?Funny looking chin gymnastics also.
Nice teaching and straight to the point advices.
i love watching these lessons and seeing others vocal lessons. I have a question though. I'm a baritone and my highest note on a good day is F4 or F#4 and it always feels like that's as far as I go naturally as far as range, but several classical pieces are written with baritones singing G4 and beyond and I can't see myself going that high ever. Is there anything I can do to help me take out this weighty feeling I get at the top? Something to experiment with outside of lessons?
Yes, it is possible to take out the weighty feeling. Practise in falsetto first but when you try singing higher in full voice use the 'ee' and 'oo' vowels as a guide. These vowels will naturally bring more falsetto coordination in to the mix. Then you need to adjust the 'ah' vowel so it fits with this thinner feeling. Good luck!
@hiyadroogs Do you have any links to hear Ben's singing? Only managed to find a Gramophone review of one of his recordings. Where does he teach? Thanks for your comments!
Connection comes later in the training process. If you connect the voice too soon then it is common to experience difficulty in cord mass elimination ie. thinning out the vocal folds. Modern voice training often over concentrates on 'Support' without any knowledge of registration and so the majority of singers today struggle with their high notes. Listen to any recording pre 1940 and you won't hear any strain. True 'Support' will develop once the registers are strong enough to blend throughout.
I hope to someday have the privilege of your training.
I make my throat relax to open throat, i can easily hit high C with chest and high D5 with behind nasal voice (mix). But in some vowel it's being hard cause i can maintain my throat to relax.
If the voice is not easy on every vowel and every note then there is a technical issue that needs looking into.
I absolutely adore your comments addressing other comments. I could not agree more with you or applaud you more that pitch follows technique and breath "connection" follows function. The matter of breath connection is properly managing the breath to hold unnecessary breath pressure. If the function isn't lined up right first, the voice will be demanding more air than it will need once it IS lined up, and you'll just be wasting your time because the breath will have to be retrained later!!! This whole politically correct idea of "more abdominal push for 'support'" is a bunch of crock and bull. I applaud you on teaching concepts that WORK!!!
I agree - 'Support' can really destroy voices. The only advice I give to begin with is to totally relax the abdominal muscles and to take a low but small breath trying to keep the upper ribcage completely still. Taking too much breath just causes tension and it is surprising how little breath is actually needed for singing once the vocal folds are functioning correctly. Thanks for your comments!
JussiPaul Sadly this mindset would be considered voice-wrecking in most politically correct vocal circles. Sadly the opposite is only too true. In all fairness the sound sought after by asking "support" is only too correct. But this desired "supported" sound could be better accomplished by low larynx, laryngeal pivot, cleat onset, oval mouth position, and a high and wide soft palette. In the end as for what's being ASKED for, the results speak for themselves. I for one have found enormous success with keeping ultra soft dynamics fully on the voice and in good tone with the "breath management" school of thought.
longliveclassicmusic Though I agree that the larynx needs to remain in a floating position which is usually lower than one is used to I do not teach the low larynx as the student usually tries to lower the larynx and in so doing presses down the hyoid bone. The best way to find the naturally low floating larynx is by training the falsetto on a soft toned and slightly breathy 'oo' vowel. The same goes for soft palate position ie. if one seeks it then it is liable to move too much and stiffen. It will find its correct position through balanced registration.
Absolutely, and I agree. I usually find accomplishing the pivot lowers the larynx without actually ASKING for a low larynx. ;)
When should we starr using these exercises? Currently I am still doing the pure falsetto (G4 -> B4 -> C2)
If you can do them now then go for it!
Hey I've got a weird problem^^ I'm not that sure anymore if i'm a baritone... I can hit a good f4 in full voice, sometimes a g4 and a4, but i can't go on any further without my voice timbre changing, i got some "bassy" lows down to e2... There is a weird thing going on around g4, a4, i can go up to a c6, but everything above a 4 sounds very heady, even when it feels connected it sounds like falsetto, but it's loud and very strong, my tenor c is very easy to do, but i'm not sure anymore if i'm baritone or leggiero tenor... I have a very strong head voice and well.. How can i test if i'm leggiero?
Am I a high baritone or tenor? For in the ordinary choir, I think now pragmatically that if such "high baritone" manages to thin out enough so all high notes come out and it blends all well too, then one is good enough as choral tenor,whatever some further reality.
Brilliant lesson! I started taking lessons about five months ago and I'm loving it, and I appear to be a lyric tenor of sorts. I can sing a C5 comfortably and go higher up, up to G5 and one semitone higher, I am sure it is a very very heady mix or falsetto. How would I be able to tell the difference and is this normal or is this a high voice for a tenor?
Post someting and send me a link. I'll tell you if it's falsetto or full voice.
Maestro, I saw in a comment below that you offer Skype lessons? I'm a mexican Tenor and I think (maybe, I haven't cleared it out) I have a 3 octaves range, but I would like to hit higher notes, is this possible? Also, I'm intrested in those lessons I mentioned, blessings!
Yes, it is always possible to extend one's range both upwards and downwards. I started with less than 2 octaves but now have almost 4 octaves plus 1 octave of vocal fry. I'm teaching in London at the moment but will be back home in Berlin on the 13th November so if you'd like a lesson then email me to arrange it. You'll find links for payment and email on my website. Thanks for your interest.
My vocal range is a C2 to and F5. Chest/Head Voice. I need to practice a lot more though. Where would that vocal range put me?
Range does not usually define voice type. The vocal timbre or colour is usually the best indicator. I would have to hear you to give you my opinion. Feel free to post something or send me a music file.
@@JussiPaul I know this is 6 years old but does this offer still hold and how best would I contact you if so? All I have to record with is my phone at the present time, so the audio quality wouldn't be perfect.
My voice begins getting lighter at A4 and I can go up to D#5 before becoming pure head voice but often times that area becomes way too constricted shrill and small and my high range sounds kind of meaty but still like a weak shriek. Is this perhaps a breath issue?
No it's not a breath issue though low relaxed breathing can always be worked on and improved. Pure head voice ends at B/C5 (tenor high C). The notes above B5 are like a zipped up thin version of chest since the TA muscles automatically come in again at high C. Check out my high C video for more help or if you want we can book a Skype lesson?
@@JussiPaul That be great.
Student sounds so good
Good question! Brett does seem to be aware of the work of Herbert-Caesari who was certainly old (ish) school. I worked with two teachers who were pupils of Caesari so I suppose there is a similarity to the two approaches. A lot of modern classical singing teachers advocate a lowered larynx which I totally disagree with so my approach is probably closer to speech level in that case. I've been very fortunate in having worked with teachers who have a direct link to the great singing of the past.
Like that lesson a lot, will try that.
I'm interested in learning this. I've reached G#5 but I want more control. Can we try 1 lesson?
Yes, we can try a lesson. You can email me at johnpaulmiles@yahoo.co.uk for more details.
I am 36, am I too old to start to learn operatic tenor technique? How old was your oldest success story in learning tenor/expanding range?
+Noisey Bloke No, you're not too old. Most of my students are about your age and they usually arrive with a lot of bad habits picked up from past attempts at learning. If your voice is in a natural state then you can make quite quick progress.
+JussiPaul Thank you, that's good to know. I'll continue my pursuit! I really enjoy your videos, by the way. Best wishes!
+Noisey Bloke You're welcome!
interesting, especially the first exercise.
Is there a reason to start in falsetto?
is this old-school italian bel canto or a classical approach to speech level singing (Brett manning style ) ??
Hello! I am a tenor singer in my church though I am quite new to singing, I have difficulty holding my breath and also in between a song I just loose my voice
Hi. I am 62 yrs old and my first passaggio is at f4 and my second is at a4. What type of Tenor am I?
Every male and female voice has the same passagio (middle C to E). Chest (thyro-arytenoid) dominance needs to start waning at middle C in order to become head (cricho-thyroid) dominant by F. I'd be happy to give you advice if you send me a link to your singing. I am just about to post a video on this subject so I hope that will be helpful for you.
Hey jussi. I'm wondering, can i become able to sing even if I might not have such a voice and range? How does a person with no idea of vocal exercises get from beginner to moderate?
Sometimes having no voice is a bonus! I could always sing quite well and so I got lots of professional work but deep down I knew I was singing badly. It took a lot of courage but eventually I gave up singing professionally and took the time to learn how to sing with the 'old knowledge'. I now teach that 'old knowledge' full time but when I do sing from time to time people can't believe that such a big sound can come out of such a small man! I wish I could say that it's easy but it really isn't. Having said that I do offer Skype lessons and I honestly prefer students who are total beginners because there is no 'un-learning' to do! The majority of vocal problems come from bad teaching - just listen to that 9 year old girl (Amira Willighagen) sing - she had no lessons but sounds better than the majority of singers today! You can probably count the number of good singing teachers on one hand so sometimes one is better off without a teacher - I couldn't find a good teacher so I just read lots of old books on singing and listened to a lot of dead singers. The old technique is quite simple (develop falsetto and chest registers then co-ordinate them) but is difficult to apply in practice! I wish you all the best! If you would like a lesson then email me at johnpaulmiles@yahoo.co.uk
Of course Amira has faults but at least they are natural faults and I would prefer to listen to her than the majority of badly trained classical singers today. If we were to compare her with the old singers then of course she's terrible but since nobody can sing like that anymore I think she's doing pretty well! I won't be posting your comment because I think the criticism is unfair and unnecessary however you are entitled to your opinion.
@JussiPaul, I think it's a good method. As a second stage you (or we :) ) need to add and build better (and more) voice breath support. But as I understand you know it, and a little deepen the voice (but not the way that the a,e,i,o ,u will not be clear). Tenor voices are somehow built on a falsetto (on a falsetto muscle), it's the fact. But it doesn't mean if you do a spectral analysis (Fourier transformation) of the sound, but it doesn't mean the sound as a result isn't correct. What you do here, you want him to better use the falsetto muscle. Then better voice support and a little bit deepening the voice and he'll be a professional. There are many misconceptions about falsetto. We need to disgusting falsetto feeling and the real sounds that goes from us. Slight falsetto feeling doesn't mean we sing in falsetto (falsetto spectral sound). The falsetto (falsetto muscle) is just a connection to the rich spectral sound and this is what many professional don't understand.
First of all you teach amazing sir. Well i've got a question. My chest voice range D2-G4(comfort zone). With mixed voice i can belt up to A5 and with Falsetto/Head Voice i can go up to D6. But i still don't know my vocal type. And im really curious about how to expand my chest voice? i can belt out till G4. But after G4-G#4 my voice always gets weaken. What is the reason? I will be grateful if you answer my questions...
It takes a long time to build the tenor high notes. The temptation is to use too much chest voice as this will get quick results but will ultimately destroy the voice. The correct way to develop the high notes is to inhibit the chest tones above middle C and take your time to develop the falsetto. Once the falsetto is free and strong you can start to co-ordinate it with a little chest in order to create the singing voice. Having said that the voice will always be falsetto dominant from F4 but it will sound like one voice and nobody will know that you're using falsetto as it will be very loud indeed! If you're really serious about developing your voice then I do offer Skype lessons.
Hi JussiPaul, regarding this, I have a query.
Does that mean in order for us to reach high notes in tenor, we need to practise using falsetto at the first stage until our falsetto becomes "mature" before moving on to using our "real voice"?
By the way, does "chest voice" refer to our "real voice"?
Our 'real' voice is a co-ordination of falsetto and chest. When we sing F4 and above falsetto will be the dominant register and when we sing A4 and below chest will be the dominant register. The notes in between (just above and below middle C) are the 'passagio' tones - this is the area in the voice where we need to transfer dominance from chest to falsetto. If we don't do this successfully then high notes will always be a problem. The perfect voice is one in which it is impossible to hear any break or transference of register dominance. The voice will sound 'seamless' to the listener but the singer will be aware of every subtle change of co-ordination. It's not easy to master but it's well worth trying as any advance in register co-ordination will produce a much better and healthier singing voice.
Oh, I see! So that means the transition between falsetto and our dominant register will eventually "build" our dominant register to be able to go higher than usual?
Hi Jussi, thank you very much for your reply, I truly appreciate what you taught me!
hi, im 16 and im a bass singer (i'm still not certain whether i'm basso profundo or just low powerful bass, but i'm not concerned about names to much) what i am wondering though, is if vocal fry is bad for the voice? i've heard so many different things about it, im not sure.
Vocal fry is great for finding the right setting for the low notes. Try going in and out of fry at your lowest pitches and this should hopefully stop you digging for the low notes. If there is a significant difference between fry and normal singing at those low pitches then you need to re-think your technique.
I think I'm a baritone. My speaking voice is around A2 - B2, I can go down to F2, I think, without fry, head voice up to D6 (up to F7 with whistle, but C7 is more consistent), if warmed up properly. Tessitura is G2 up to probably G4, mabye A4. Hitting a C5 would be amazing for me, maybe I could learn to do it with a mixed voice. Then again, because I didn't have a lot of vocal coaching, I think I have ridden myself into bad habits of using too much compression, even for my high tessitura notes. I think, I just completely lack any technique
Oh, definitely! At the moment, I just lack the funds :)
The Vegan Freediver i have the exact same range, tessitura as you. Falsetto up to C#6, can go down to F2, speaking range around G2-B2, E7 in whistle but C#7 is more consistent. My tessitura is also G2-G4 and most of the time i can comfortable go up to B4. I can belt up to D5 but its hard to find a balanced mix thats not too heady after C5, especially with support.
Hello sir, I really enjoyed your video it was very educational. I hope you could maybe give me your opinion on as to what my voice type might be. I was told by my chorus teacher that I was possibly a lyric baritone, because I have a warm voice but it's also agile, and I believe that it is very light. These characteristics lead me to believe I may be a leggero tenor with an underdeveloped voice.I am about 17 years and my range is about B1 to C7. I can sing in chest voice up to about G5 (I think I don't know exactly if I am mixing or if just really light). I can sing into my head voice extremely high and do melisma. My whistle register is only really high on good days. I can tell the difference between my falsetto and head voice, so when I sing high it doesn't feel or sound like it does when I sing into my head voice. I need your help sir please.
Sometimes I watch this...and realize I'll never be able to hit that high ever lol. He sounds great.
Sad thing is hitting that note doesn't take much effort from him and for high tenors it can be easy to overshoot a note and go higher on accident. I am a leggiero tenor and hitting an F#5 in full voice is effortless using bel canto technique. Mind you my speaking voice is mostly between D#3 and F#3 and I sound like a boy, but my lower notes are surprisingly strong. For years though I would also lower my speaking voice and try to sound like a baritone. Everyone wants to be what they are not. I always wanted to sing with more power like Jimmy Gnecco, Chris Cornell, and Layne Staley, but my voice is too light to reproduce their type of high note attacks that have pure power to them.
Wow. Interesting. I am a bass. My lowest note I can hit is a Bb 1. My speaking voice would make you think I am a tenor though, as it is about a D3, E3 place. My highest notes in chest is merely at an A3, and it flips about there, so I have to go into a mixed head voice tone, and then it's just head/falsetto all the way up from there. I can belt, but that only goes up to an F4 on a very good day. My range is very limited to anything really. All I can sing are opera villain Arias. Not much luck in the contemporary areas. I agree, we all want to be what we are not, and in my case, that would be pretty much everything in the singing world lol.
Zachary Quiroz haha yeah bass singers are so rare too, but I can totally understand why you hate being one since they aren't really in contemporary music and play villains in operas. My breaks are D#4 and G#4, but I usually prefer to enter a lighter mix before the G#4 so I have more flexibility. Being a high tenor can be fun and I do enjoy it; however, listening to a song like Ours "Fallen Souls" and the power of the strained E5 climax in that song makes me jealous of Jimmy Gnecco's more powerful voice. Pure power and emotion to that climax.
Oh for sure! I can see how that can make anyone envious haha. That's a decent break you have though. Yeah, basses are rare. When I was 18, I wasn't smart about my voice and kept on singing until I damaged my voice a bit. I got strep throat for about a good month or so, and I lost about a good 4th interval on my high range. So I used to be able to go to an F4 in full on chest, but now I can barely do a C4. Fun times. But I did gain my lower range with it, so that still offsets a 2 octave range. But still. We all have our voices for a reason, so we should take pleasure in that. However, it isn't always that easy.
Umm... Im practicing to make my head voice sound like my chest, but it doesn't work well. It kind of gives me a feeling that Im stuck on high notes, and if I just go on, it will go to a whistle register. Also, my head voice goes to a hoarse sound lots of times. Unstable. What's the problem?
I would have to hear you to give you a proper diagnosis. I would recommend booking a Skype lesson as it sounds like you have some serious vocal issues.
How ?? Do you adjust the cord pressure. Very confused. Sounds like a falsetto but closed cords also not a flagolet sound
The secret is to keep the CT muscle stronger than the TA muscle and that takes years of falsetto training. Once the falsetto is the dominant mechanism then singing becomes easy!
I can get this now as I have used falsetto for many years. It's a weird feeling and doesn't always work each time for me amd feels.like the voice won't turn but then other times it turns over easily. It's started and that's the main thing . I can hit this high f in a connected voice so very grarefull
@@stebolian You're welcome! I'm glad it's working for you.
Hi, I'm brazilian and I THINK I am a countertenor... I can reach a high G (G5 in piano) in head voice and C5 with belting... What do you think?
Matheus Santos I wouldn't be able to say for sure without hearing you. Counter tenors are usually baritones who sing in falsetto so from what you've told me I would guess that you are a high tenor.
It's very helpful to me as a begginer, Sir Paul do you have any video lesson about the positioning that needto be consider from head to toe? Is that a falsetto? Thanks for this video
No I don't but good posture is very important. I would recommend Alexander technique to help with that.
I was wondering where high notes for a tenor voice strart. My teacher told me they start at an A4 which is where I feel mine start, but she probably said A4 because she noticed that I felt quite low below that.
I also wanna know this guy's vocal type, cause it might be the same as mine, probably. Is he a full lyric?
Matt is a Leggiero (light) tenor most suited to music by Rossini etc. I don't really understand your first question. All voices should be falsetto dominant from the F above middle C so if that's what you mean then I would say F4. The passagio starts around A4 so you could also say B flat or B just below middle C is where the chest register begins to lose its dominance. Is that helpful?
JussiPaul Yes, it was! I was just wondering. The thing is that, as I'm used to sing songs that are sung by women I usually sing high(I guess? around A4 to Eb5, that's usually the highest I can bring my chest resonance) so I just didn't quite understand when people said that high notes for men started lower than that.
That's interesting! Strictly speaking high notes for women start that low too and I would advise caution singing that high in chest. For years I sang too high in chest (because I could) but my voice didn't really start to develop until I learned to bring head voice in much lower. Send me a music file (to johnpaulmiles@yahoo.co.uk) as I'm very interested to hear you!
JussiPaul Sure! Whenever I have time I will!
I recently turned 16 and my voice range is e2-f5, chest e2-G4 and falsetto the rest of the way up, I am curious if there is a chance that my voice will continue to get higher or I if I can develop my voice to sing higher chest notes.
It's always possible to take the chest higher but not always advisable!
thanks for the feedback
His performance is quite something! I have a question, I think I'm a baritone or low baritone, I sing from F2 to E4 in my modal voice, but from then on I don't know if I'm using head voice or not. But after a couple notes I know that I'm definitely on head voice and I can go to F5 on that and in falsetto I can C6. I am basically trying to teach myself how to sing and I have horrible breathing technique. I would like to know if my really high falsetto is maybe a clue that mean that I can go higher on my modal voice but just don't know how or something, I would just like an opinion about all this.
Not necessarily. I teach baritones who also have those very high notes. Send me a link to your singing and I'll give you my opinion.
JussiPaul Omg I'm kind of shy and I'm kind of intimidated by having someone that knows as much about singing as you listening to me, but here it goes:
soundcloud.com/goshirn/micro-cuts-chorus
soundcloud.com/goshirn/new-born-vocals-only
soundcloud.com/goshirn/locked-out-of-heaven-cover
soundcloud.com/goshirn/climax-short-vocals-only
GoshirnGaming I think you are a baritone. The falsetto you are doing is ok but I would recommend only practising up to a B4 for now and try to use a steady stream of air so that the tone is completely straight ie. no vibrato. The notes above B4 should be completely free of air just like your chest voice should be. Try to relax your abdominal muscles and only take a small breath. I hope that is helpful.
JussiPaul Thank you so much for the help! :)
I'm not sure how's your falsetto can reach C6 but your head voice only F5 :)
I'm still confused if I'm a baritone or tenor. My lowest note is G#2 without vocal fry, I can't belt above E4, after D4 my voice switch to head voice, I can hit C5 when my vocal cord is good, from D5 to F5 my voice is very strained in falsetto.
You mustn't strain the falsetto that high. Just practice up to B4 and allow a little air through to begin with. Once you establish the falsetto correctly you should get a clearer picture of where your voice lies.
thank you for your feedback, I'll try to do as you say.
Andrea Fasoli Reherseal : Mix di prove Pucciniane
What do you think about this, Maestro Miles?
Wow! You have quite a voice there! Bello!
How much can I improve my voice in the time after the voice change.
I'm 15 at the moment, my lowest note is the C2, my highest chest note about A4 and my head voice ends at A5 maybe. How much will that change in the next years?
This is a very important time for you and you need to be very careful. Most importantly you need to hold on to your falsetto and don't lose it as it is the key to good singing. Don't worry about range at the moment. Practise falsetto from the tenor high B down to your lowest notes. At first you won't get much lower than middle C but with time you will be able to sing falsetto throughout your entire natural range. Forget about the notes above the tenor high B for now as they are a totally different mechanism. At the high C the vocal folds zip up and naturally take up thyro-arytenoid tension so in a way are more like chest voice than falsetto though in a very thinned out way. You can use that to your advantage later but the first job is to get as much stretch into the folds by exercising the crico-thyroid muscles which are activated by singing the breathy 'oo' vowel in falsetto. Good luck with that and if you need any help then I do offer lessons in London, Berlin or on Skype.
My vocal range is baritone. Does anyone know a way I can push my voice to tenor??
Don't ever push your voice but if you can free your falsetto you may find that you are a tenor. Look at my 'falsetto' and 'passaggio' videos for more help.
JussiPaul what I try to sing tenor, my voices changes to forsetto
I am a female always thought I was Alto but I am beginning to think maybe I am a tenor. I can sing the lowest and also the highest. Is it possibly for a woman to be a tenor?
this is actually helpful!! an almost direct exercise to create that covered sound quality :D
Where are you located and how can someone reach you?
I teach in London, Berlin and Dresden and on Skype. You can find my website address above.
@@JussiPaul Thank you Jussi. I think I would like to try your Skype.
@@reubencrummy7024 You can also email me directly if you prefer. My email address is johnpaulmiles@yahoo.co.uk
I don't know if i'm a tenor or a baitone..I find comfortable both...but sometimes i get wrong in high notes and sometimes my low notes dont sound good...my voice seems to be richer with low harmonics, but it can be light too..help
I sing tenor 1 in our choir which makes me a lyric tenor, idk, but I can comfortably sustain notes from an F#2 to an E5, after that it gets harder and it thins out up to a B5. I dont like the my mix F5 to B5. Im doing everything I was taught to, and I dont want to lower my larynx for a fake big tone. How can I belt higher without compensating the tonal quality of my voice? This is more subjective though. Lol
+Cloud of Reverie You can never belt higher but once the falsetto register is strong you will be able to sing in a stronger co-ordination. All notes above E4 should be falsetto dominant but when co-ordinated correctly with chest they will be incredibly loud. I offer Skype lessons if you're really serious about developing your voice.
How much does the teacher charge? I want to learn how to sing
70 euros an hour.
Im 17 years old, I can go around G2-G#4 in chest voice, E3-G6 in falsetto/head voice and about up to g7 in average for my whistle. But i can't seem to find any way to use mixed voice, i pratice a lot, but i just can't seem to understand how to use it ^^'
ph008 It's not easy. Some singers do it naturally but most need to work at it. It's actually sensible to only practise in separate registers to begin with anyway so I would say carry on doing what you're doing. I would, however, advise caution. Don't sing regularly in chest that high (the chest voice needs to start losing it's dominance before you get to middle C) and the most important range to practise falsetto is B below middle C up to the B before tenor high C (the highest note in Nessun Dorma). That octave is the most important octave to work on as that is where your mix will be. I hope this is helpful for you and I wish you all the best!
JussiPaul Thanks for the answer ^^, i also have another question, base from what i say, would you think im a tenor or a baritone ?
ph008 No, range does not determine voice type. I would need to hear you.
+JussiPaul You are one of the very first people I see saying this. To much "voice teachers" determin the voice-type on range while that is nonsense as a bass might have the range of a low tenor but that doesn't make him a tenor at all.
+Joren De Tollenaere Exactly! When a voice is trained correctly then it can sing most notes within reason - how then do you determine a voice type? The problem with today's teaching is that it takes the voice as it is and trains it whereas a good teacher will look for correct function first before deciding on vocal fach. In my thirty years of singing I only came across two singing teachers (one in London and one in New York) who used the old method of register training ie. separating the falsetto from the chest, exercising them before coordinating them to create the totally natural (and unique to the individual) singing voice. Notice that I used the word coordinate rather than mix ie. we don't want mixed registers as that would limit the voice. All voices male or female are chest dominant below middle C and falsetto dominant from the F above middle C and in between there is a battle for dominance which neither side must win. Thanks for your comment!
Hello teacher, I live in Brazil and my dream is to sing researched a lot. and I am in doubt whether I am a tenor or baritone, many tell me that this is not so important. more I think best know for min feel more confident in what I do a teacher told me that my tone sounds like a heavy tenor my terssitura and vocal range are these
lowest note that I make is a B2 and can go with him to an F # 4 with full chest voice, and veses G4 starting this note my voice breaking. will be that this is my passagio more after this f # 4 I'm going to the C6 with falsetto
Warning: can not find my head voice confudo me with falsetto and I found the voice of similar tenor with my voice in acute :)
Send me a recording or a link to a video and I'll tell you what voice you are.
You're welcome!
nice one John Paul
Love it 😍
Sounds like he's a lyric tenor to me cause it seemed like his head voice would have given out had he gone any higher than a D5, i believe he used enforced falsetto to get above said note all the way to the F#5 on that last exercise.
The falsetto register actually comes to an end at B4. The notes above function in the same way as chest mechanism but the vocal folds are zipped up and so only the very ends vibrate hence the thinner (more falsetto-like) sound.
@JussiPaul There is a difference between obsession with pitch and simply addressing that, well, to put it simply, the student is not singing on pitch. What is the correct method? We can argue all we can but if the student does not improve or continues to sing off pitch all the time then clearly, there is something wrong.
Just my two cents.
Awesome!!!
Wow warm up mouth voice exercise 🥰
Is the teacher a Baritone?
No, he's a lyric tenor!
very interesting
Very good
Wow very good
I emailed you today in regards to lessons look forward to hearing from you
so appreciated