omg I was trained classically (particularly opera) and I've always found it frustrating as to why pop and r&b seems so challenging. this makes everything come together thank you.
I think pop and classical singing can work together very well when done properly, I think singing a pop song in classical style can be very unique too, I don’t get why most people don’t see it that way :(
4:36 but I don't hear the pure head voice than the opera I think you're mixing here really!! Cause the sound I hear was not coming up in your head but like forward piercing and strong with and anchor of a chest voice.
Hey Stacy, thanks so much!! Since my method is resonating with you, I wanted to invite you to come to the Breath Support Bootcamp I'm teaching this weekend on Sat 1/20 at 1pm PST / 4pm EST. It's online, interactive, live, hands on training - you'll learn the foundation of rock solid support so that you can translate this idea of siren into your rep consistently. And I'll be able to get in there with you and coach you on it to make sure you're doing it right. Here's a short video where I give all the info about the Bootcamp: th-cam.com/users/liveadbRXW1J-I0?si=EiM3WTZH_MiDDZD0 and you can register here: buy.stripe.com/5kA9DH1Q1dNngG46ox I hope you will come!!
One thing to add, the vowel modification you are doing, the reason for that is that laryngeal tilt warps the vowel in that range naturally, especially on the (i) vowel, due to the shift in harmonic strength. That can be easily demonstrated by paying close attention to the tongue and if you keep the position the same as you go up without spreading the pharynx and jamming the hyoid the vowel will change with the same tongue position. Another way to show it is by manually tilting the larynx while holding a note and keeping the tongue precisely the same and noticing the vowel change. So we have to be aware that using very pure vowels at the top is going to screw with our technique. In reality if we just let the voice do what it needs to do then when we think (i) the sound should come out as appropriately modified, it is when we can't accept that and force a preconception onto the sound that the natural mechanism falls apart. The old school way of teaching that was to teach vowel modifications, nothing wrong with that, but it is like Caruso and Gigli said that they never modified vowels even though they use heavily modified vowels - because they aren't trying to modify, it's just the effect of range + technique.
I notice teachers talk about the head voice and chest voice. What about the register between the head voice and chest voice--the medium voice? I had someone tell me there was no such thing as a medium range but I have a big break between my medium and chest voice.
Mixed voice or head voice is the same thing. It is a mixture of chest voice with falsetto. The idea around mixed voice is much more problematic for male singers.
For most singers to get a resonant operatic sound, the soft palate needs to be nice and round and high, like a big parachute expanding up between the ears. Let the sound figuratively spin around up in that space and see what happens!
@@ArdenKaywinVocalStudio Thanks thanks aloot, great tip, I need that so much. I like how you switch in and out of operatic to contemporary sound effortlessly. Especially the operatic sound. So majestic. 😍
omg I was trained classically (particularly opera) and I've always found it frustrating as to why pop and r&b seems so challenging. this makes everything come together thank you.
same!!
As I'm essentially in Classic Prog-Rock--a.k.a. *OPERA* for Millennials--the closer my Rock and Opera voices sound, the better!
I discovered this channel a couple of weeks ago, and this is really helpful, i love your videos and the way you explain it... thanks very much Arden.
Wow, this was really detailed and informative, thank you so much for sharing this with us 👏
I think pop and classical singing can work together very well when done properly, I think singing a pop song in classical style can be very unique too, I don’t get why most people don’t see it that way :(
4:36 but I don't hear the pure head voice than the opera I think you're mixing here really!! Cause the sound I hear was not coming up in your head but like forward piercing and strong with and anchor of a chest voice.
Amazing explanation! And you sound GREAT!
I luv your content!!! Thank you!!!❤❤❤❤
Hey Stacy, thanks so much!! Since my method is resonating with you, I wanted to invite you to come to the Breath Support Bootcamp I'm teaching this weekend on Sat 1/20 at 1pm PST / 4pm EST. It's online, interactive, live, hands on training - you'll learn the foundation of rock solid support so that you can translate this idea of siren into your rep consistently. And I'll be able to get in there with you and coach you on it to make sure you're doing it right. Here's a short video where I give all the info about the Bootcamp: th-cam.com/users/liveadbRXW1J-I0?si=EiM3WTZH_MiDDZD0 and you can register here: buy.stripe.com/5kA9DH1Q1dNngG46ox I hope you will come!!
Do i need to vocal cord closure too?
Thanks. I am now going to refer female singers to the second example in this video as a perfect demonstration of how good female pop singing works.
One thing to add, the vowel modification you are doing, the reason for that is that laryngeal tilt warps the vowel in that range naturally, especially on the (i) vowel, due to the shift in harmonic strength. That can be easily demonstrated by paying close attention to the tongue and if you keep the position the same as you go up without spreading the pharynx and jamming the hyoid the vowel will change with the same tongue position. Another way to show it is by manually tilting the larynx while holding a note and keeping the tongue precisely the same and noticing the vowel change. So we have to be aware that using very pure vowels at the top is going to screw with our technique. In reality if we just let the voice do what it needs to do then when we think (i) the sound should come out as appropriately modified, it is when we can't accept that and force a preconception onto the sound that the natural mechanism falls apart.
The old school way of teaching that was to teach vowel modifications, nothing wrong with that, but it is like Caruso and Gigli said that they never modified vowels even though they use heavily modified vowels - because they aren't trying to modify, it's just the effect of range + technique.
I notice teachers talk about the head voice and chest voice. What about the register between the head voice and chest voice--the medium voice? I had someone tell me there was no such thing as a medium range but I have a big break between my medium and chest voice.
It's called mix voice which is a mix of chest and head voices. Look up Chris Liepe's videos on it. Good luck!
Mixed voice or head voice is the same thing. It is a mixture of chest voice with falsetto. The idea around mixed voice is much more problematic for male singers.
6:15 ok but How because that would be in a very weak part of my register and you sound so comfortable
Hey, great vid, thanks!
Quick question, if I aim for more operatic sound, so I need to figuratively shoot my voice to soft palate??
For most singers to get a resonant operatic sound, the soft palate needs to be nice and round and high, like a big parachute expanding up between the ears. Let the sound figuratively spin around up in that space and see what happens!
@@ArdenKaywinVocalStudio Thanks thanks aloot, great tip, I need that so much.
I like how you switch in and out of operatic to contemporary sound effortlessly. Especially the operatic sound. So majestic. 😍
cool.
I found someone from Oliveira didn't i
@@jichuu69 how did you know?!!?
@@Unicorn-pu5rv i saw ur name, oh its anissa btw :)
Alot of Pop Singers were Classically Trained
The 'operatic sound" does not sound very operatic either. But the point of the video is good.
Cristina Ramos is known for that
I would like to know how to sound operatic, not how not to.