Here are some details from his interview: 1) He confirmed that his vocal cords are significantly longer than that of the average person. 2) He was trained as a tenor, he himself considers himself a tenor. 3) In his opinion, it is quite humanly possible to develop your range by 3 octaves down and 3 octaves up. 4) Over the past 2-3 years (after participating in the "Singer" competition), he has significantly improved his control in the lower register. 5) As a child, he sang in the choir of the soprano girls. His friends began to taunt him, and he began to try to sing low on his own. 6) During puberty, a very unlikely thing happened: his voice did not break. He gained access to low notes and did not lose access to high notes. That is why it is absolutely true in relation to him that his unique talent is the result of the synergy of hard work and natural data. //////////////////// Вот несколько сведений из его интервью: 1) Он подтвердил, что его голосовые связки значительно длиннее чем у обычного среднего человека. 2) Его обучали как тенора, сам он считает себя тенором. 3) По его мнению это вполне в человеческих возможностях развить свой диапазон на 3 октавы вниз и на 3 октавы вверх. 4) За последние 2-3 года (уже после участия в конкурсе "Сингер") он значительно улучшил свой контроль в нижнем регистре. 5) В детстве он пел в хоре партии девочек-сопрано. Его друзья стали насмехаться над ним, и он начал самостоятельно пытаться петь низко. 6) Во время полового созревания произошла весьма маловероятная вещь: его голос не сломался. Он получил доступ к низким нотам и не потерял доступ к высоким нотам. Вот почему по отношению к нему абсолютно справедливо утверждение, что его уникальный талант является результатом синергии упорного труда и природных данных.
To add to this I'm not sure but I've heard from my teacher that if you get a correct vocal training as a kid when puberty hits you can still reach those high notes and add bit from the lower range just naturally. Knowing that Dimash has received vocal training from a young age it kind of confirms this with how wide his range is.
The world is really lucky that Dimash had fantastic vocal instruction, from the time he was 5, so that his voice was never ruined by improper training. As for his proficiency in foreign languages, I think some people are a little jealous that he can sing in 12 languages. His pronunciation may not always be perfect but I could say the same for the majority of our current American vocalists. Many of them murder the English language.
@@kentamplin Well I'm not an alien 👽👽 for one, like Dimash, but no seriously, I'm working at it. Much love, and thanks for the encouragement man! Keep rockin!
Oh Frank you are also here! Nice to see coaches and singers comming together!! Ken Frank also have done a lot of reaction videos to Dimash and like you, can sing himself - you should actually watch his song YOUR LOVE - THINMAN&SPARROW!
In one of the interviews in Russian Dimash was asked: are you a tenor, baritone, countertenor, soprano? Dimash answered - it depends . In another interview Dimash mentioned that during his classical vocals studies some of his favourite classical pieces he sang were: Lensky (Tchaikovsky Evgenij Onegin) - tenor, and also Rachmaninoff's songs from the repertoire of Dmitri Hvorostovsky - baritone. The official classification of his voice at the time was - tenor, counter tenor. Basically Dimash is unique, he is capable of singing equally well as baritone, tenor, counter tenor, soprano, coloratura soprano. His vocal abilities are totally out of this World and makes it impossible to classify him under regular voice classification scale. He is an alien lol
@@mileneogata But that doesn't fully explain some of his lower register. The contraltino: It is a type of tenor voice with a compass not much wider than that of the coeval baritenor, but able to sustain far higher tessiture, it means that the basic range remained substantially the classic one, from C3 to C5: only the best baritenors, however, were able to reach up to such heights and used to pass anyway to the falsettone (or strengthened falsetto) register about G4; for tenori contraltini, on the other hand, the threshold of the passage to the falsettone register rose two or three semitones, and they could so easily reach C5 but often up to E5, or even, exceptionally, to F5. The real difference, however, consisted in the tessitura, or the pitch range that most frequently occurs within the given piece of music and where the artist is called upon to execute syllabic singing with the best sound results; the tenore contraltino's required tessiture rose, so that the roles could not be sustained even by the best gifted baritonal tenors like Manuel Garcia, or instance, who had a wide range as a baritenor, "had L'italiana in Algeri in his repertoire, but faced with the extremely high tessitura and the mainly syllabic writing of ‘Languir per una bella’, he transposed the aria down a minor third, performing it in C major instead of E flat”. In France, which was the only European country that had rejected the employment of castrati, a voice type similar to the Italian early-19th-century tenore contraltino had been developing since the 17th century; this voice type was called haute-contre and the majority of heroic and amatory parts were written for it in grand opera and in opéra-comique. This type reached its apex in the age of Rameau, it was, in fact, a type of tenor voice extremely light and widely ranged, but nearly systematically uttered in falsettone in the high pitch, so as to somehow re-echo the castrato "contraltista" of the Italian stamp. This thesis, evidently borrowed from Rodolfo Celletti’s positions, does not seem to have been fully shared explicitly, in Potter's recent work about the tenor voice. According to him, the main difference between the 18th century Italian tenor (no longer so deep a baritenor, or "tenor-bass", as the seventeenth century one) and the French haute-contre, was that the former would use falsetto (and not falsettone, which Potter never explicitly mentions) above G4, whereas the latter would go up to B flat in full voice or, to be more exact, in a "mixed head and chest voice, and not [in] the full chest voice that Italian tenors would develop later" which is consistent with Celletti and the editor of Grande Enciclopedia’s terminology, in falsettone. Between the end of the eighteenth and the beginning of the nineteenth century, the shortage of castrati among available opera singers compelled coeval composers to contrive substitutes for the roles of "primo musico" in operatic companies; the solution that seemed the most immediate and the most according to tradition, was the so-called "contralto musico", or female singers-usually mezzo-sopranos rather than real contraltos-who could perform the roles originally written for castrati as well as the parts composed with female singers in mind. According to Rodolfo Celletti, in the first 35 years of the 19th century, more than 100 cases of original resort to the "contralto musico" can be counted up, and it was employed also by musicians of the rising post-Rossini generation, such as Donizetti, Mercadante, The second possible solution involved the baritonal tenor, but this did not suit the Belcanto-style taste of coeval composers, who shared the traditional dislike for this vocal timbre, as it was considered vulgar at the time; the companies' choices were, as always, limited to the singers available to the various theatres, so this second solution was resorted to when there was no alternative. Rossini, for instance, had recourse to a baritenor as a lover in Elisabetta, regina d'Inghilterra, at a time when his company included two major singers of that type, and also for Torvaldo e Dorliska and Armida, where, beside the amatory protagonist, Rinaldo, created by the very prince of Rossini baritenors, Andrea Nozzari, there appear additionally five or six baritonal tenors in secondary roles. There were no contraltos available in the mentioned cases, nor was the singer Giovanni David yet, who was to provide Rossini with a third solution: a new type of opera seria tenor voice, springing from the experience of the so-called "half character tenorini", who used to be employed in comic operas and who had clearer and lighter, and therefore more agile, voices than those of the proper baritenors. After still using a basically central and slightly virtuoso writing for the tenor in his early comic operas, Rossini elevated the tenor's tessitura to extremely hard high pitches of virtuosity and coloratura as soon as singers' abilities allowed it; such was the case of Serafino Gentili, the first performer of Lindoro in L'Italiana in Algeri, of the cited David, the first performer of Don Narciso in Il turco in Italia, of Giacomo Guglielmi, the first performer of Don Ramiro in La Cenerentola and, finally, of Savino Monelli, the first performer of Giannetto in La gazza ladra. When Giovanni David entered Barbaja’s company in Neapolitan theatres, he was entrusted with the young and/or noble lover’s parts, whereas Nozzari and other baritenors got the roles of rancorous or villainous antagonists, or of army leaders; the part of Otello, created by Nozzari, cannot be considered a real amatory role, but "has psychologically the characteristics of the modern baritone, whether he is seen as the heroic general or expresses fury and jealousy”. The above-specified tenore contraltinos were characterized by high, brilliant and acrobatic singing, and could bravely confront baritenors in the hot-blooded challenge duets, as well as finely sing lovers’ elegiac melodies; they were, above all, able to sustain much higher tessiture than those of baritenors themselves; such tenore contraltino characterization would be slightly attenuated after Rossini's moving to France, where it was possible to resort to the tradition of hautes-contre, who were equally versed in high singing, but rather more averse to castrato virtuosity, typical of Italian opera. Adolphe Nourrit can be regarded as the paragon of this expansion beyond the Alps of the tenor contraltino experience. The usage of the new type of tenor voice, which includes John Sinclair, the Scottish tenor that first performed Semiramide’s Idreno, passed then into the hands of the other contemporary composers, finding firstly and mainly in Giovanni Battista Rubini, and then also in Gilbert-Louis Duprez and Napoleone Moriani, David’s valid successors. With Rossini, though, a whole era had ended and the new realistic singing ideals of the Romanticism were becoming more widespread. Male coloratura sank into oblivion; Bellini who in La sonnambula still confronted Rubini with virtuosity on a par with the soprano, in I puritani, less than four years later, but would call upon him to sing no more than a scanty number of melismas and Donizetti, who would always keep employing coloratura in the parts written for Rubini, would interrupt this usage with Duprez when the latter ceased posing as the former’s emulator. On the other hand, the falsettone register began, as well, to go out of fashion quite rapidly, as a simple recollection of Baroque antirealism times of yore: Rubini would raise up to high B♭ the uttering of force (or forceful), improperly called "from the chest"; Duprez, in his turn, would have Lucca’s audience hear the first high "C from the chest" and would then give up elegiac singing of his former model Rubini, beginning to utter forcefully the whole high note range and also taking on many manners of baritenors, who were then still haunting the operatic scenes (dark timbre, firm accent, great phrasing nobility, quivering and passionate acting). The great Adolphe Nourrit, having proved himself unable to conform to the new singing and taste trend, having been overcome by Duprez at the Opéra through a forceful performance of Arnold’s role in William Tell, which he himself had created, according to Rossini's expectations, by hautes-contre’s ancient graceful singing, ended his days in despair in Naples where he had resumed his studies with Donizetti, falling headlong from the window of a hotel's room; the brief season of the tenore contraltino was over and there had begun the new era of the Romantic tenor, whether it was called lyric or dramatic, elegiac or spinto, robusto or di grazia, which is still enduring till present times.
@@kentamplin And what if Dimash... is a reincarnated soul of this kind of singers of those times. 🤔🤔 I always suspected that there was something wrong with this guy, he clearly does not fit into our time. 😁😁 If no kidding, he is an amazing artist and I have great respect for him :)
please make it a looooong long dimash-a-ton Ken!You're one of the few people on TH-cam that knows the technique beyond the vocals we hear and not "react" but "analyse".Emre Yücelen from Turkey is an old hand like you:)I'd be disappointed if you ever stopped analysing Dimash.Sincerely,he who must not be named..
This is the best example of how a vocal teacher should be. i don’t want to watch any other vocal teachers in the net anymore. This is great stuff only in KTVA.
It's ridiculous to figure out what kind of voice Dimash is. He sings perfectly in the range of baritone, tenor, countertenor, alt, contralto, soprano, coloratura soprano, falsetto, he copes well with growls and whistles. So what is this determination about? Dimash goes beyond classic vocal range setting, that's it!
Dimash tem tudo isso que fala e ainda mais Tem um aparelho vocal extraordinário os agudos dele são um cristal e os graves de outro planeta para além de Dimash ter sido treinado no Erudito Estudar estudar estudar até dar certo
The point to the video is: whether Dimash is a high baritone or as Dimash himself puts it, " just a normal tenor", he had to earn every single one of those notes. This is an extremely valuable lesson for all of those looking to increase vocal range and control with proper training. A lot of coaches promise what they can't deliver. They promise range, power, control etc.. but never deliver. They show no students doing it and don't demonstrate itr with their own voices. The proof is in the singing!
His teacher from classical college(he was studying there at his teens.The teacher also friend of a family and was a teacher of Dimash's mom) called him a lyrical tenor, if I not mistaken. And a turkish bloger-musician asked him if he had a longer cords than normal person, Dimash said "yes". When he he was a teenager he was singing with girls as had a high voice. His friends were joking at him. So really wanted increase his lower range.
@@kriknut1 But if his vocal cord little more flexible than normal it should be like that because when I saw his acapella singing in love of tired swans and he shared 2 months ago I think he is speaking totally baritonal and his chest voice around F3-G3 which not too low but he has true baritone quality and big sound in those note it was almost like bas baritone quality it 😱😱
KEN MY DEAR!.......THANKS for your reactions to Dimash!!!!.......SOS is a French song, a cover of Daniel Balavoine and is a Beautiful song. At The Singer Chine 2017. His performance begin in B1, lowest note and chest voice, go F#5 highest note, chest and mixed voice, then D6 highest note , head voice and the end E6 highest note and whistle!!!!!! Some Registers: classical, operatic, pop-rock and rock Some Technique: vibrato, staccato, falsetto, female voice, vocalist, crescendo, decrescendo. Total range from B1 to E6....the best voice in the world.six octaves, amazing voice and performance. Greetings from a Mexican Dear! ❤️🇲🇽👏🏻🇰🇿❤️
William, no doubt, but since I have a science background, I believe that genetics had a lot to do in his case, from both maternal and paternal side. Their music backgrounds go way back, perhaps to his ancestry! But you’re correct in that hard work is a big part of his success.
I don't know enough about music theory to have an opinion on what Dimash is, other than an angel from Mars as 7 Aeons calls him. But after months of listening to him, these are the things that most stand out for me. First, there's the power. I just haven't heard any other singer today who can match the sheer volume of sound he can put out (Mario Del Monaco?). Second, the superhuman range of course. But most important for me is the amazing sweetness of his voice..... this is what really grabs you. Lots of singers can reach at least some of the notes he can, but NOBODY else can truly SING (as opposed to scream, or squeak) every single note over six octaves. No matter how piercing or growly, every note that Dimash sings sounds like it came down pure and perfect from the heavens. How unbelievable is it that he was born to a musical family, with absolute pitch, with incredible lungs, with unusually long vocal chords, and then his voice just never broke?? It's too ridiculous for fiction, so it has to be real. By the way, his sweetness of tone comes from his mom Sveta. Look up some videos of him singing with this parents!
Ken, tell us how you really feel!! I think it's completely appropriate for you to be forcefully blunt at times, this was well placed frustration. Anyone that says different is simply unaware of your decades of dedication to music. Just to be plain, I appreciate you and your hard work and willingness to share. Probably the most generous instructor/entertainer out there - nearly to a fault.
Огромное спасибо за этот тщательный, любовно сделанный (в который раз!!!) анализ необыкновенного голоса необыкновенного ЧЕЛОВЕКА. Удивляюсь, как можно не любить такое уникальное сокровище, да ещё оскорблять Димаша, чем до сих пор занимаются некоторые злые и завистливые, бездарные пользователи... Thank you so much for this meticulous, lovingly made (yet again!!!) analysis of an extraordinary voice of an extraordinary person. I wonder how you can not love such a unique treasure, and even insult Dimash, what some evil and envious, incompetent users are still doing...
Dimash is the best singer in the WORLD and there are no doubts about that, his voice is a prodigy of nature and a genetic marvel since his parents are two glories of singing from Kazakhstan since he was 5 years old, he sings publicly and has more than twenty years of lyrical training and graduated from the university of music, he is a singer, composer, arranger and multi instrumentalist, he plays more than sevent musical instruments and sings in more than nine languages, he is also a great performer and a great artist who lives and feels music He is not an imitator of voices , Dimash has his own style and is one of the forerunners of the "Popera" he also has a very pleasant, Humble and simple personality, easy access, which makes it very easy to follow, he always travels with His family and friends is a very educated person and an example to follow, he has become known for his musical talent not for getting into trouble or scandals, he is a singer with a wide vocal range very versatile is Baritone, Tenor, Soprano, against Tenor, mezasoprano, everything at the same time is how to have 5 singers in one, it has a male and female voice, also many resources such as vibrato, "melismas", falsetto, whistle tone, reaching a D8 live at the concert of Gakku in an unforgettable day, at his young age he continues to improve and grow musically to perfection, he has a good physical presence he measures 191 cm or 6 "3", he is very famous and recognized in Asia and now he is becoming known In Europe and America, ALL their songs are spectacular, it always goes from low to high, soft to spectacular at the end, in my almost half a century of life I never heard so much quality and it is the hope of continuity of the classical genre because all the old tenors have already Almost all of them died and Dimash can sing like them but none of them can sing like Dimash, being a Man he sings better than any Tenor and his female voice is superior to that of any average Soprano, greetings and a hug from Venezuela🇻🇪, "Dears" Forever ❤️👍🏻
@@kentamplin It is correct friend Ken, it is very nice to hear it, how good that in the world there are people who develop that talent, it is the kind of good music that you have to appreciate and enjoy, I also like your analysis a lot and you also have a lot of knowledge and talent , I am at your service in Venezuela for when you want to come to know, my House is your house, You are welcome Brother 🙏🏻👍🏻
Ken, also notice that there is no strain or push in his neck, shoulders, or face, he is totally relaxed to allow the air to flow evenly over his vocal cords. I am ever amazed at how he knows exactly where each point of the register is. I think he has a piano on his cords. He also sings with his entire body. That is pure operatic training.
Well if he is a baritone he can do all kinds of freakish stuff with his voice he can go super soprano high and do the low growls and he can do all kinds of things with his voice i don't why people will talk smack or put him down and say he isn't baritone he is awesome has a variety of different tones and techniques in his voice the side is awesome he can blow away a lot of singers so he is awesome a great singer love him live great range Ken 👍👍👍👍👍👍👍👍👍👍
Cade- whether Dimash is a high baritone or as Dimash himself puts it, " just a normal tenor", he had to earn every single one of those notes. This is an extremely valuable lesson for all of those looking to increase vocal range and control with proper training.
Yes your exactly right Ken thanks for explaining all this every bit of what you said is exactly right couldn't have said it better well anyways he is a awesome baritone tenor singer what he can do with his voice is outstanding and very awesome he is a great singer Ken
Yes Ken, I really like it! Although I don't sing)) But I listen to you and understand how difficult it is, how much work it takes to sing like Dimash! Big respect to Dimash! He is young, but he sings like that! Imagine how much, very hard he worked! All childhood, all youth! Everyday! Everything to go to your goal! Dimash is not an alien! Of course he is talented, but he is also hardworking and purposeful! Dimash deserves respect! Very! Thank you Ken for bringing it to your attention!
I agree with you that Dimash is a baritone with great opportunities. It is enough to listen to how he speaks. Every year his spoken voice becomes lower and deeper, very masculine. The singing range can be developed more than nature has given. In the case of Dimash, these are unique bonds, incredible efficiency and an amazing love for music! And yet, it's also somewhat of a miracle! Because besides the possibilities, there is a unique, very attractive, mesmerizing voice timbre - very pleasant. There are vocal equilibrists on the stage, there are unique ones who take very high notes, but sometimes it is unpleasant to listen to them - their high notes are like sports. And the high part of Dimash's range is always "the singing of an angel"! You listen and enjoy every moment. And then another, and another. Magic!
I’m a lay person in music but I know my ears recognize Dimash’s rare quality and genius! It’s not just simply listening to him; it’s the whole experience of sound and vision offered by his art that floors me! Thanks for spreading the facts of his art and removing doubts about his incredible capabilities! You’re a great artist yourself!!
Thank you for the analysis! As I have noticed, classical singers change their voice classification based on their tone of voice (and how they can support the notes). So what you said about him being a high baritone is completely true. His tone and resonance in his lower register is so warm and vibrating that it suggests that he has "built" that register first. Of course he was familiar with higher register as a child, pre-puberty. But after puberty he has worked A LOT to maintain those higher notes. I have spent countless hours of my life in a practice room, and so have my opera-singer friends, so I know that Dimash has practiced soooo much to have this amount of control. It makes me appreciate him as a musician immensely. Ofcourse, he has a lot of natural talent also because of his childhood, surrounded by music. But don't forget the hard work these aliens like Dimash and Ken had to do!
Baritone, tenor, countertenor, alt, contralto, soprano, coloratura soprano, falsetto...thats all are only words between musicians for orientation. After comed Dimash between them and singed all registers together....😂
Ken, I think you're right on the point with Dimash having natural high baritone voice. I loved your detailed explanation of every tone and technic behind that - to people (like me) with some musical education background, it makes perfect sense. Besides the obvious major talent, the reason behind all these beautiful, seemlessly mixed vocal technics, - this guy is highly educated. This is just from Wiki: "At the age of six, in 2000, he won the national piano contest Aynalayin.[10] [19]... Kudaibergen completed a Broadway Musical master class in 2009.[21] In 2014 he graduated in Classical Music with Major in Vocal (Bel Canto) from the music institute of K. Zhubanov University in Aktobe.[22] He began his studies in Contemporary Music (Jazz, Pop) at Kazakh National University of Arts in Astana,[23] where he graduated with Major in Vocal on 27 June 2018.[24][25] On 18 June 2020, he graduated from the same university with a Master's Degree in Composition[26] by defending his Master's thesis with a perfect score, and receiving a recommendation for admission to doctoral studies in music.[27][28]"
@@kentamplin by the way, to fully illustrate his baritone voice, you may want to view the video where he sings “Ti amo cosi” with Laura Fabian and Aida Garifullina. Or when he sings “Ulisse” with Aida, he goes even lower. He humbly lets ladies lead with high voices there 🙂
Ken - the most interesting and knowledgeable vocal coach!------ Ken this is my absolute favourite of Dimash and never tired of listening to it - so many things going on but sounds fab!
To some extent Dimash may have been helped by nature, but it took a whole lot of practice and hard work to get to where he got. You do not naturally just slide up and down and do those runs, nor reach the high notes. His baritone actually probably helps him in whistle register too, but he had to practice that for many long hours. Thanks Ken. I wonder more who taught Dimash :-)
@@kentamplin His father Kanat Aitbayev previously led the regional Cultural Development Board of Aktobe.[11] His mother Svetlana Aitbayeva is a soprano singer at the Aktobe Philharmonic Society, (wikipedia )
@@kentamplin Hello Mr. Tamplin. I wrote you everywhere i could find you but didn't receive a response. I am a big Dimash fan and i translate reactions from english into russian. May i have your permission to translate your Dimash reactions and upload the dubbed version on my channel?
@@AlanAA I appreciate your interest however translations are not anything I can control and I can't be certain of being represented correctly. I'm sure you have the best intentions however, this request is made regularly of me and it's my practice to decline. Thank you.
Ken, I don't know Dimash, at all...first time hearing him. The singular thing that definitely stands out to me is his supreme vocal control and command, throughout his vocal ranges (yes, plural)...and that is NOT falsetto...maybe a little at the exteme upper register....he's had years of vocal coaching, that's obvious...and probably LEARNED to mantain his younger-days boyish skills into adulthood. Tremendously good example for all male vocal artists to study. Good job !!!
The point to the video is: whether Dimash is a high baritone or as Dimash himself puts it, " just a normal tenor", he had to earn every single one of those notes. This is an extremely valuable lesson for all of those looking to increase vocal range and control with proper training. A lot of coaches promise what they can't deliver. They promise range, power, control etc.. but never deliver. They show no students doing it and don't demonstrate itr with their own voices. The proof is in the singing!
@@kentamplin Dear Ken May I ask you question, some people thought Dimash doesn't know how to sing full bel canto opera( like he can not sing without mic), he only know some bel canto technique . Also some people believe Dimash push too hard to get the dark thick timbre, which will harm his voice in the future. What do you think?
@@SingingLessonsINC IMHO, he's some kind of a tenor. Because in this video at least, his low notes were accutare, but very weak. I'm a high baritone myself and can produce very rich low notes down to G1, after that it gets weak and unreliable. I didn't measure what the low note was in this video, I'm guessing a B1, but it's quite weak.
In my opinion, Dimash is a baritone, tenor, alto, soprano all rolled up into 1! He can sing any note in any of those registers! That’s why people say he’s an alien. 👽
There is a video showing Dimash’s progression as a singer from childhood. He definitely was born with very long and flexible vocal cords and perfect pitch. But the rest is a result of training, discipline and determination.
Hello, Ken! Thanks a lot for this Dimashathon! 🥰️ Please make an vocal analysis of his performance with the song "Samaltau" at the Tokyo Jazz Festival. He sang the whole song sitting cross-legged, it's incredible!
Hello Ken! Amazing analysis as usual! It has been said by Dimash himself that he is a tenor, but I'm intrigued by the baritone theory! I'm not a pro or whatsoever, but I've been singing in a choir for more than 10 years, performing classical pieces most of time, and our vocal coach there (a professional classical singer) said to us that the voice fully matures at certain age. I can't remember if he said around 30 or 40 yo, but there's still a chance that your theory is proven right. Dimash has only 26 yo, so he has a long way to go with maturity, and you can already tell in the last 3 years his voice has been gaining more and more deepness. See you in the next video! I'm really enjoying this Dimashaton!
Like, like, like, like, like, like, like, LIKE! Ken Tamplin Vocal Studios Rocks! Almost can’t wait till tomorrow knowing Ken Tamplin is rockin Dimash 😎🥳🎉🎊🎶
It's hard to classify dimash lol I was convinced he was a high baritone also because of the depth of his sound down there and his great resonance in the bariton range but then I would hear his tenor stuff and I just don't know. Dimash is his own classification 😆
Hi again Ken, thank you very much! I am a mathematician. We say sometimes, if we're working on very interesting math problems, that the music is in our math... Dimash said in one of his interviews, that singing is not easier than math, maybe more difficult. After your last lessons I have the feeling, that there is also math in singing!
Please react to "Passione" where he sounds more a baritone. People keep saying to you how Dimash said he was a tenor, but they forget one detail that he said it years ago. Same with his teacher; he also said it years ago. His voice definitely has changed some since then. And add to it the fact that his current natural speaking voice is pretty deep and low and how more comfortable he seems to sing as a baritone, I would think at this current stage in his life he could be described as a baritone. And I would be curious to know what his answer will be if the question is asked now. Normally people's voice categorization doesn't change in their adult lives, but with him it can definitely be debatable. And I can see why his voice type is such a discussion topic though, because he really is so hard to categorize in any shape or form, so I understand why there are constant debates about this. By the way, here is the link to Passione which I recommend you to react to where (to me) he sounds like he is a baritone rather than a tenor : th-cam.com/video/8QtI_fpTIxc/w-d-xo.html
I was a tenor all my life until mid 20s when after years of partying and abuse I'm now a baritone...it happens...i can still sing tenor and also but Baritone is most comfortable now
Thank you, Ken. You are such a great teacher, everything is clear, I listened to you so carefully and delved into your every explanation of the technique of performing Dimash , in fact, I don't understand much about music, but your explanations were so professional, so clear that I even tried to repeat your sounds . 😃😀 Good luck Ken and 1000 000 subscribers to you!!❤❤❤
This is my favorite version of "SOS" (I can listen to it endlessly) 🥰🥰 It was through this performance that I got acquainted with the work of this amazing artist. Apparently, I will review your wonderful vocal analysis several times too 😆😆
Anyone that talks smack about other's when it comes to speaking a foreign language, clearly is just covering for their own shortcomings. I am a native English/American speaking person and at times - not very well. ;)
Yup, I only speak only 3 but worked with an African person who spoke 5 and Germans made fun of him because his German was broken and heavily accented 😎
Dark Shadow II....I'm from West Texas, (cowboy country). Dad moved us to Wisconsin (me, age 6)...teachers hated the "twang"...couldn't understand me. Mom paid a local lady to teach me proper (northern) English after school...every day. I can bounce from proper English to Texas drawl in a heartbeat around other Texans...and it's REAL Texan, not "put-on". That experience stayed with me and drove me...six years of German, including University-level, night- and summerschool, etc (and other training), and I am now fluent (speaking, reading AND writing) in 16 foreign languages....# 16 is English ....because, to a Texan, English IS a "foreign" language !!! ... as I learned early on. Ya'll take care...all the best. Yours was a great comment. Thank you for posting it. Doug (a.k.a. "Crossbow", BMI)
My girlfriend lived in France for a time and told me this tune is quite popular there. I know it's from Starmania and I have seen it sung by the original performer who unfortunately died young. It's amazing to me how Dimash makes pieces his own.
By now. you have probably seen this interview, but I saw one where Dimash was asked whether he was a baritone, tenor or what. He answered with all sincerity, "It depends."
Dimash's voice is UNIQUE. His voice when speaking is quite low, but paradoxically when he yells (speaking) to the audience un order to cheer them in the middle of a concert he sounds really high and sharp.
Finally someone smart like you Ken. I'm a high barritone myself, but I love singing in tenor and high tenor, I even find it easier cos I was training it much more than than my natural barriton range and now my friends who don't train their voices at all are saying to me not to go higher than E4 cos I'm gonna hurt my voice, while in the same time they can't go 2 full hours of singing
I think the reason it's argued that he is a tenor is because Dimash is quoted as making that claim. But I believe that was a few years ago. Is it possible that as he has matured through his 20's it has moved down to baritone?
These are my favourite videos, when you break it all down and show us how it's done. A 4 minute video becomes a half hour video, and I'm here for it! I pray the Dimash-athon never ends!
This is really amazing! So much knowledge. I bought your course 4 years ago and never got the chance to dive into it. But I am going to restart it tomorrow and stay consistent with it.
Actually, i'm a classical singer and i can reach as low as a d2 and as high as a#4 (in a good day) with lyrical voice (not falsetto). I was once able only to reach e#2 and d4, but worked hard and get such results
Wow Ken! you are priceless in your knowledge, **experience** and wisdom, you truly are a professional from the earlier wiser generation, a rarity these days, this is one of the best reviews and lessons Ken, great work mate!
Dimash said in an interview “I’m just an ordinary tenor who managed to expand his vocal range” also his vocal coach in Kazakhstan acknowledges him as a tenor 🤷🏻♀️
I like your vocal analysis and your enthusiasm 😚😚 According to his vocal teacher, his mother and Dimash himself, he is a lyric tenor who over time has developed his vocal skills very well. In my opinion, Dimash is an exception to the rule... and very many vocal teachers are confused (some believe that he is a baritone, some believe that he is a tenor). In any case, he is a miracle of nature ✨✨
I've been into bel canto for almost 11 years coming from Italian system. We have always considered A4 to be the top note in the baritone range, not F. Also we have always considered over registry to reach up to C5 with real mix voice, not todays meaning of mix voice. Even in Rossini operas you can see baritones using falsetto with full resonance to reach alto registry. The difference comes when we consider contemporary equipment that allows different techniques to be considered useful.
I have NEVER EVER seen anyone react to a song like you sir, thank you for all the amazing information you gave, that was so informational and so professional.
Ken, I could listen to you teach/talk for hours on end and never get bored. Anyone who has you as their vocal coach is a lucky person. I found your channel through Anthony Vincent. He has nothing but good things to say about you and Anthony is an awesome vocalist. I can't carry a tune but I never let that stop me because I can't live without music! Lovin' Dimash week.💕
I like your new reactions to dimash verry well. It's not all my opinion, but its honest and real.. Your reactions are profund with so much knowless.... I understand that. And i'm German.... I was in a quire 40 Years before and love music. Really nessesary for me is, to know, that he (Dimash) lern every day new stiles, new ways, new influences for his music. No one title is the same and so it's important to know, that he don't give every time only the peak of his famous possibilitys, but also a quiet or traditional song - that makes for me the real artist. He is studiyng so many kinds of music, singinging insrtuments, composing, vodeo and sound tecnique. I hopo you can understand my bad english, but i never learned it at scool. so, sorry. For me, he is a great artist at his beginning.
Without Dimash and Ken Tamplin, you would never think that singing is such a complicated and difficult art 🙂 Worse than nuclear physics .... or brain surgery .... 😀 Thanks, Ken! ❣️ And Dimash - the king of the higher sphere of the music world.
Hey Ken, nice to see your introspective analysis. I know that your coaching is to help people sing professionally, but I'm pretty sure that only the lesser amount of those who underwent your teaching would ever be deemed, so to say, "a lucky duck" to achieve even your level of mastery, let alone Dimash's phenomenality you talk about. Between, you're one of the fewest coaches who dares to demonstrate some of those difficult stuff in-situ, which apriori is the great evidence of your own talents and tonnes of hard work and strenuous efforts you had to put into all that. Kudos and credits to you! Dont stop Dimashaton. He ain't no joke and by now is the world's most beloved, technically sophisticated top level singers!
His voice has matured since the singer remarkably. I recommend Ulisse with Aida Garifulina he does a robust g#2 with a classical approach. I believe he's singing baritone for most of that song, Aida is a Soprano with the Vienna opera.
Thank you Mr. Tamplin. Your analysis is so profound and useful, I love your way of commenting and criticizing based on your knowledge and experience and facts, rather than the pretend-to-be-shocked and artificially superficial expression. I'm not a singer or vocalist, but I like to hear your analysis, those are very helpful. Thank you!
This kind of deep explanations and demonstrations are one of the reason you're one of the best reactors - Giving something we actually need to pay attention to understand
Dimash is certainly a tenor. It is possible for certain kinds of tenors with the right facial resonators to have booming lower ranges. In example my Passaggio lies on the D-G spot but I have those same resonating lower notes. Lots of male broadway singers also have this quality to their voice such as Ramin Karimloo or Derek Klena.
The point to the video is: whether Dimash is a high baritone or as Dimash himself puts it, " just a normal tenor", he had to earn every single one of those notes. This is an extremely valuable lesson for all of those looking to increase vocal range and control with proper training. A lot of coaches promise what they can't deliver. They promise range, power, control etc.. but never deliver. They show no students doing it and don't demonstrate itr with their own voices. The proof is in the singing!
Factors to consider if Dimash is a baritone or tenor apart from what area of his voice register he produces with the most ease and is the most resonant (fair to say he excels equally in all areas due to high intensive training for many many years but before he trained his voice the true nature of his voice would be much more evident). Consider his speaking voice which usually is an indicator of what his most natural day to day regular sound is......Freddie Mercury is often said by some to be a highly trained baritone mainly because of his low deep warm and thick speaking voice. Second extra factor to consider if Dimash is a baritone or tenor is a bit harder to determine and that is the nature, size, thickness or length of his vocal cords. A medical examination can settle this debate. Just because you sing like a tenor or counter tenor due to intensive regular training for many years does not make you a tenor by biological construction if your vocal cords are that of a baritone. Believe it or not Michael Jackson was a baritone and there are some leaked videos (of him vocalising with his vocal coach) of his "real" speaking voice on TH-cam that proves this. 5 cents chipped in!
@@SingingLessonsINC Of course everyone has to earn it. Even tenors earn those notes just as much as baritones. It’s all about mastering the Passaggio and being able to slide through the cover out towards the really high notes. The difference is that most baritones have to start from the E wether as most tenors sit a tone higher on the F#. Besides that, what your saying sound a lot like marketing with no substance on how to earn it. The voice is really something which can only be discovered from self discovery; not one single teacher can get you to learn everything. Learning fully takes a lifetime.
Ken, thank you for lighting up our lives and helping us reach our full singing potential--healthfully--with your uniquely charismatic, truly transformative teaching style and unassailable talents. You are amazing!
excellent analysis to the great Dimash, you gained a new follower. I hope you keep analyzing more Dimash songs, I think he was born with a gift, but I work as if he didn't have it and that's why he is. Greetings from Peru
I am mezzo and still working on my voice to this day, I have wobble issues when I sing soft. Though I have a niche for belting. I started singing at 7. When I first began training properly at 17, I was feeling sad because I couldn't hit higher notes. My vocal teacher told me this. "You have thicker vocal chords than a soprano but the good thing is that you can train your chords to get thinner and thinner if you practice. If you have a high voice(thin vocal chords) that's it for you.You can't make them thicker, they have a limit." After that, I believed in myself and get asked if I'm soprano because I can sing high. The answer is no. Like Ken said, I HAD TO EARN them notes doing vocal exercises. When you have a lower voice you can train it to go higher and guess the end result? A great range and technique. It's a blessing in disguise! So is Dimash a baritone? I agree with Ken, the rich lower range can't happen if the vocal chords aren't thicker to begin with. Dimash is blessed but I know it took a lot of training to get that kind of technique and range!
You rock the voice teaching Ken.This guy's phenomenal and I'm stoked by you breaking it down so I can try to mimic what you're doing! No I'm not you or Dimash but maybe just maybe I can be the best baritone I can be.
An excellent review !!! I had the pleasure of watching your video with a reaction to dimash, but now, watching something more technical I was impressed with your knowledge. I am very lay with singing, but I loved it
Here are some details from his interview:
1) He confirmed that his vocal cords are significantly longer than that of the average person.
2) He was trained as a tenor, he himself considers himself a tenor.
3) In his opinion, it is quite humanly possible to develop your range by 3 octaves down and 3 octaves up.
4) Over the past 2-3 years (after participating in the "Singer" competition), he has significantly improved his control in the lower register.
5) As a child, he sang in the choir of the soprano girls. His friends began to taunt him, and he began to try to sing low on his own.
6) During puberty, a very unlikely thing happened: his voice did not break. He gained access to low notes and did not lose access to high notes. That is why it is absolutely true in relation to him that his unique talent is the result of the synergy of hard work and natural data.
////////////////////
Вот несколько сведений из его интервью:
1) Он подтвердил, что его голосовые связки значительно длиннее чем у обычного среднего человека.
2) Его обучали как тенора, сам он считает себя тенором.
3) По его мнению это вполне в человеческих возможностях развить свой диапазон на 3 октавы вниз и на 3 октавы вверх.
4) За последние 2-3 года (уже после участия в конкурсе "Сингер") он значительно улучшил свой контроль в нижнем регистре.
5) В детстве он пел в хоре партии девочек-сопрано. Его друзья стали насмехаться над ним, и он начал самостоятельно пытаться петь низко.
6) Во время полового созревания произошла весьма маловероятная вещь: его голос не сломался. Он получил доступ к низким нотам и не потерял доступ к высоким нотам. Вот почему по отношению к нему абсолютно справедливо утверждение, что его уникальный талант является результатом синергии упорного труда и природных данных.
Thanks for sharing, ju1ietta But not 3 octaves up and 3 octaves down...
Not 3 octaves, but three tones up and three tones down. Apparently, there was an incorrect translation:)
Holy shit, there are people whose voices don't break? Mine still does at 20, though it has, thank god, become rare :'D
His vocal cords being significantly longer than average, would mean his voice would be deep. Now I wouldn't by any accounts call his voice deep
To add to this I'm not sure but I've heard from my teacher that if you get a correct vocal training as a kid when puberty hits you can still reach those high notes and add bit from the lower range just naturally. Knowing that Dimash has received vocal training from a young age it kind of confirms this with how wide his range is.
The world is really lucky that Dimash had fantastic vocal instruction, from the time he was 5, so that his voice was never ruined by improper training. As for his proficiency in foreign languages, I think some people are a little jealous that he can sing in 12 languages. His pronunciation may not always be perfect but I could say the same for the majority of our current American vocalists. Many of them murder the English language.
The DIMASHATHON. Found this guy a couple of years ago and was freaking speechless. So great. I really wanna get there someday.
Do it! What's stopping you. 😊
@@kentamplin Well I'm not an alien 👽👽 for one, like Dimash, but no seriously, I'm working at it. Much love, and thanks for the encouragement man! Keep rockin!
He's like the fusion of tenor and a baritone ;-;
Good observation!
I deeply respect you for your intelligence and honest position!❤️
Thanks so much for listening, Yuli! Appreciate the visit!
i actually always thought he was a high baritone as well. great explanation as always ken. btw i'm starting your course to improve my singing.
Very nice! Can't wait to hear your progress!
Hello from Brazil, captain Frank. Love your reactions as well
Hey Frank kisses from Brazil 😘🇧🇷😍
Oh Frank you are also here! Nice to see coaches and singers comming together!! Ken Frank also have done a lot of reaction videos to Dimash and like you, can sing himself - you should actually watch his song YOUR LOVE - THINMAN&SPARROW!
In one of the interviews in Russian Dimash was asked: are you a tenor, baritone, countertenor, soprano? Dimash answered - it depends . In another interview Dimash mentioned that during his classical vocals studies some of his favourite classical pieces he sang were: Lensky (Tchaikovsky Evgenij Onegin) - tenor, and also Rachmaninoff's songs from the repertoire of Dmitri Hvorostovsky - baritone. The official classification of his voice at the time was - tenor, counter tenor. Basically Dimash is unique, he is capable of singing equally well as baritone, tenor, counter tenor, soprano, coloratura soprano. His vocal abilities are totally out of this World and makes it impossible to classify him under regular voice classification scale. He is an alien lol
DIMASH is Tenor Contraltino
@@mileneogata But that doesn't fully explain some of his lower register. The contraltino: It is a type of tenor voice with a compass not much wider than that of the coeval baritenor, but able to sustain far higher tessiture, it means that the basic range remained substantially the classic one, from C3 to C5: only the best baritenors, however, were able to reach up to such heights and used to pass anyway to the falsettone (or strengthened falsetto) register about G4; for tenori contraltini, on the other hand, the threshold of the passage to the falsettone register rose two or three semitones, and they could so easily reach C5 but often up to E5, or even, exceptionally, to F5. The real difference, however, consisted in the tessitura, or the pitch range that most frequently occurs within the given piece of music and where the artist is called upon to execute syllabic singing with the best sound results; the tenore contraltino's required tessiture rose, so that the roles could not be sustained even by the best gifted baritonal tenors like Manuel Garcia, or instance, who had a wide range as a baritenor, "had L'italiana in Algeri in his repertoire, but faced with the extremely high tessitura and the mainly syllabic writing of ‘Languir per una bella’, he transposed the aria down a minor third, performing it in C major instead of E flat”.
In France, which was the only European country that had rejected the employment of castrati, a voice type similar to the Italian early-19th-century tenore contraltino had been developing since the 17th century; this voice type was called haute-contre and the majority of heroic and amatory parts were written for it in grand opera and in opéra-comique. This type reached its apex in the age of Rameau, it was, in fact, a type of tenor voice extremely light and widely ranged, but nearly systematically uttered in falsettone in the high pitch, so as to somehow re-echo the castrato "contraltista" of the Italian stamp. This thesis, evidently borrowed from Rodolfo Celletti’s positions, does not seem to have been fully shared explicitly, in Potter's recent work about the tenor voice. According to him, the main difference between the 18th century Italian tenor (no longer so deep a baritenor, or "tenor-bass", as the seventeenth century one) and the French haute-contre, was that the former would use falsetto (and not falsettone, which Potter never explicitly mentions) above G4, whereas the latter would go up to B flat in full voice or, to be more exact, in a "mixed head and chest voice, and not [in] the full chest voice that Italian tenors would develop later" which is consistent with Celletti and the editor of Grande Enciclopedia’s terminology, in falsettone. Between the end of the eighteenth and the beginning of the nineteenth century, the shortage of castrati among available opera singers compelled coeval composers to contrive substitutes for the roles of "primo musico" in operatic companies; the solution that seemed the most immediate and the most according to tradition, was the so-called "contralto musico", or female singers-usually mezzo-sopranos rather than real contraltos-who could perform the roles originally written for castrati as well as the parts composed with female singers in mind. According to Rodolfo Celletti, in the first 35 years of the 19th century, more than 100 cases of original resort to the "contralto musico" can be counted up, and it was employed also by musicians of the rising post-Rossini generation, such as Donizetti, Mercadante, The second possible solution involved the baritonal tenor, but this did not suit the Belcanto-style taste of coeval composers, who shared the traditional dislike for this vocal timbre, as it was considered vulgar at the time; the companies' choices were, as always, limited to the singers available to the various theatres, so this second solution was resorted to when there was no alternative. Rossini, for instance, had recourse to a baritenor as a lover in Elisabetta, regina d'Inghilterra, at a time when his company included two major singers of that type, and also for Torvaldo e Dorliska and Armida, where, beside the amatory protagonist, Rinaldo, created by the very prince of Rossini baritenors, Andrea Nozzari, there appear additionally five or six baritonal tenors in secondary roles. There were no contraltos available in the mentioned cases, nor was the singer Giovanni David yet, who was to provide Rossini with a third solution: a new type of opera seria tenor voice, springing from the experience of the so-called "half character tenorini", who used to be employed in comic operas and who had clearer and lighter, and therefore more agile, voices than those of the proper baritenors. After still using a basically central and slightly virtuoso writing for the tenor in his early comic operas, Rossini elevated the tenor's tessitura to extremely hard high pitches of virtuosity and coloratura as soon as singers' abilities allowed it; such was the case of Serafino Gentili, the first performer of Lindoro in L'Italiana in Algeri, of the cited David, the first performer of Don Narciso in Il turco in Italia, of Giacomo Guglielmi, the first performer of Don Ramiro in La Cenerentola and, finally, of Savino Monelli, the first performer of Giannetto in La gazza ladra. When Giovanni David entered Barbaja’s company in Neapolitan theatres, he was entrusted with the young and/or noble lover’s parts, whereas Nozzari and other baritenors got the roles of rancorous or villainous antagonists, or of army leaders; the part of Otello, created by Nozzari, cannot be considered a real amatory role, but "has psychologically the characteristics of the modern baritone, whether he is seen as the heroic general or expresses fury and jealousy”. The above-specified tenore contraltinos were characterized by high, brilliant and acrobatic singing, and could bravely confront baritenors in the hot-blooded challenge duets, as well as finely sing lovers’ elegiac melodies; they were, above all, able to sustain much higher tessiture than those of baritenors themselves; such tenore contraltino characterization would be slightly attenuated after Rossini's moving to France, where it was possible to resort to the tradition of hautes-contre, who were equally versed in high singing, but rather more averse to castrato virtuosity, typical of Italian opera. Adolphe Nourrit can be regarded as the paragon of this expansion beyond the Alps of the tenor contraltino experience. The usage of the new type of tenor voice, which includes John Sinclair, the Scottish tenor that first performed Semiramide’s Idreno, passed then into the hands of the other contemporary composers, finding firstly and mainly in Giovanni Battista Rubini, and then also in Gilbert-Louis Duprez and Napoleone Moriani, David’s valid successors. With Rossini, though, a whole era had ended and the new realistic singing ideals of the Romanticism were becoming more widespread. Male coloratura sank into oblivion; Bellini who in La sonnambula still confronted Rubini with virtuosity on a par with the soprano, in I puritani, less than four years later, but would call upon him to sing no more than a scanty number of melismas and Donizetti, who would always keep employing coloratura in the parts written for Rubini, would interrupt this usage with Duprez when the latter ceased posing as the former’s emulator. On the other hand, the falsettone register began, as well, to go out of fashion quite rapidly, as a simple recollection of Baroque antirealism times of yore: Rubini would raise up to high B♭ the uttering of force (or forceful), improperly called "from the chest"; Duprez, in his turn, would have Lucca’s audience hear the first high "C from the chest" and would then give up elegiac singing of his former model Rubini, beginning to utter forcefully the whole high note range and also taking on many manners of baritenors, who were then still haunting the operatic scenes (dark timbre, firm accent, great phrasing nobility, quivering and passionate acting). The great Adolphe Nourrit, having proved himself unable to conform to the new singing and taste trend, having been overcome by Duprez at the Opéra through a forceful performance of Arnold’s role in William Tell, which he himself had created, according to Rossini's expectations, by hautes-contre’s ancient graceful singing, ended his days in despair in Naples where he had resumed his studies with Donizetti, falling headlong from the window of a hotel's room; the brief season of the tenore contraltino was over and there had begun the new era of the Romantic tenor, whether it was called lyric or dramatic, elegiac or spinto, robusto or di grazia, which is still enduring till present times.
@@kentamplin
And what if Dimash... is a reincarnated soul of this kind of singers of those times. 🤔🤔
I always suspected that there was something wrong with this guy, he clearly does not fit into our time. 😁😁
If no kidding, he is an amazing artist and I have great respect for him :)
Dimash is the chameleon of the voice!!
He’s kind of like Micheal Spyres. Micheal is a super high Rossini tenor that sang a solid (but amplified) low C in his recording of Largo Al Factotum.
His voice is full of color, he is a great singer, actor and art. thanks Ken you are also a great vocalist .. greetings 😍
Thank you, Yanie Ry!
He's apparently been taking vocal lessons since he was five years old. He had musical parents and supportive grandparents.
Cool, Tangent Whisper!
please make it a looooong long dimash-a-ton Ken!You're one of the few people on TH-cam that knows the technique beyond the vocals we hear and not "react" but "analyse".Emre Yücelen from Turkey is an old hand like you:)I'd be disappointed if you ever stopped analysing Dimash.Sincerely,he who must not be named..
So glad you're enjoying the series. More to come!
@@kentamplin Def!! Emre and Ken are my favorites.
This is the best example of how a vocal teacher should be. i don’t want to watch any other vocal teachers in the net anymore. This is great stuff only in KTVA.
I appreciate that, Joshua!
It's ridiculous to figure out what kind of voice Dimash is. He sings perfectly in the range of baritone, tenor, countertenor, alt, contralto, soprano, coloratura soprano, falsetto, he copes well with growls and whistles. So what is this determination about? Dimash goes beyond classic vocal range setting, that's it!
Thanks for the visit.
Dimash tem tudo isso que fala e ainda mais Tem um aparelho vocal extraordinário os agudos dele são um cristal e os graves de outro planeta para além de Dimash ter sido treinado no Erudito Estudar estudar estudar até dar certo
The point to the video is: whether Dimash is a high baritone or as Dimash himself puts it, " just a normal tenor", he had to earn every single one of those notes.
This is an extremely valuable lesson for all of those looking to increase vocal range and control with proper training.
A lot of coaches promise what they can't deliver. They promise range, power, control etc.. but never deliver. They show no students doing it and don't demonstrate itr with their own voices.
The proof is in the singing!
@@kentamplin LOL, my thoughts exactly Ken
His teacher from classical college(he was studying there at his teens.The teacher also friend of a family and was a teacher of Dimash's mom) called him a lyrical tenor, if I not mistaken. And a turkish bloger-musician asked him if he had a longer cords than normal person, Dimash said "yes". When he he was a teenager he was singing with girls as had a high voice. His friends were joking at him. So really wanted increase his lower range.
Thanks for sharing!
This can't be right. If he has longer vocal chords, he would be a bass, which he's not.
@@kriknut1 But if his vocal cord little more flexible than normal it should be like that because when I saw his acapella singing in love of tired swans and he shared 2 months ago I think he is speaking totally baritonal and his chest voice around F3-G3 which not too low but he has true baritone quality and big sound in those note it was almost like bas baritone quality it 😱😱
22:38 I like Dimash’s smile right there. He knows he absolutely SLAYED this song and left everyone’s jaws dropped!
Indeed!
KEN MY DEAR!.......THANKS for your reactions to Dimash!!!!.......SOS is a French song, a cover of Daniel Balavoine and is a Beautiful song. At The Singer Chine 2017. His performance begin in B1, lowest note and chest voice, go F#5 highest note, chest and mixed voice, then D6 highest note , head voice and the end E6 highest note and whistle!!!!!!
Some Registers: classical, operatic, pop-rock and rock
Some Technique: vibrato, staccato, falsetto, female voice, vocalist, crescendo, decrescendo.
Total range from B1 to E6....the best voice in the world.six octaves, amazing voice and performance. Greetings from a Mexican Dear! ❤️🇲🇽👏🏻🇰🇿❤️
Thanks so much for the info, Lupita! Appreciate it!
You are right Ken about earning every note. As Dimash said what he has is 1% talent and 99% hard work.
LOTS of hard work! Thanks for the visit!
Talent from God
He was being humble!!!!
@@calistamitsy4411 Maybe he was, but what he said is absolutely true.
William, no doubt, but since I have a science background, I believe that genetics had a lot to do in his case, from both maternal and paternal side. Their music backgrounds go way back, perhaps to his ancestry! But you’re correct in that hard work is a big part of his success.
I don't know enough about music theory to have an opinion on what Dimash is, other than an angel from Mars as 7 Aeons calls him. But after months of listening to him, these are the things that most stand out for me. First, there's the power. I just haven't heard any other singer today who can match the sheer volume of sound he can put out (Mario Del Monaco?). Second, the superhuman range of course. But most important for me is the amazing sweetness of his voice..... this is what really grabs you. Lots of singers can reach at least some of the notes he can, but NOBODY else can truly SING (as opposed to scream, or squeak) every single note over six octaves. No matter how piercing or growly, every note that Dimash sings sounds like it came down pure and perfect from the heavens. How unbelievable is it that he was born to a musical family, with absolute pitch, with incredible lungs, with unusually long vocal chords, and then his voice just never broke?? It's too ridiculous for fiction, so it has to be real. By the way, his sweetness of tone comes from his mom Sveta. Look up some videos of him singing with this parents!
Thanks so much for the thoughtful response!
Ken, tell us how you really feel!! I think it's completely appropriate for you to be forcefully blunt at times, this was well placed frustration. Anyone that says different is simply unaware of your decades of dedication to music. Just to be plain, I appreciate you and your hard work and willingness to share. Probably the most generous instructor/entertainer out there - nearly to a fault.
Thanks so much, Dark Shadow! More to come!
Огромное спасибо за этот тщательный, любовно сделанный (в который раз!!!) анализ необыкновенного голоса необыкновенного ЧЕЛОВЕКА. Удивляюсь, как можно не любить такое уникальное сокровище, да ещё оскорблять Димаша, чем до сих пор занимаются некоторые злые и завистливые, бездарные пользователи...
Thank you so much for this meticulous, lovingly made (yet again!!!) analysis of an extraordinary voice of an extraordinary person. I wonder how you can not love such a unique treasure, and even insult Dimash, what some evil and envious, incompetent users are still doing...
My pleasure! I have the utmost respect for Dimash. He is the master of his craft!
Dimash is the best singer in the WORLD and there are no doubts about that, his voice is a prodigy of nature and a genetic marvel since his parents are two glories of singing from Kazakhstan since he was 5 years old, he sings publicly and has more than twenty years of lyrical training and graduated from the university of music, he is a singer, composer, arranger and multi instrumentalist, he plays more than sevent musical instruments and sings in more than nine languages, he is also a great performer and a great artist who lives and feels music He is not an imitator of voices , Dimash has his own style and is one of the forerunners of the "Popera" he also has a very pleasant, Humble and simple personality, easy access, which makes it very easy to follow, he always travels with His family and friends is a very educated person and an example to follow, he has become known for his musical talent not for getting into trouble or scandals, he is a singer with a wide vocal range very versatile is Baritone, Tenor, Soprano, against Tenor, mezasoprano, everything at the same time is how to have 5 singers in one, it has a male and female voice, also many resources such as vibrato, "melismas", falsetto, whistle tone, reaching a D8 live at the concert of Gakku in an unforgettable day, at his young age he continues to improve and grow musically to perfection, he has a good physical presence he measures 191 cm or 6 "3", he is very famous and recognized in Asia and now he is becoming known In Europe and America, ALL their songs are spectacular, it always goes from low to high, soft to spectacular at the end, in my almost half a century of life I never heard so much quality and it is the hope of continuity of the classical genre because all the old tenors have already Almost all of them died and Dimash can sing like them but none of them can sing like Dimash, being a Man he sings better than any Tenor and his female voice is superior to that of any average Soprano, greetings and a hug from Venezuela🇻🇪, "Dears" Forever ❤️👍🏻
You're right, Oscar. DiSMASH is amazing!
@@kentamplin It is correct friend Ken, it is very nice to hear it, how good that in the world there are people who develop that talent, it is the kind of good music that you have to appreciate and enjoy, I also like your analysis a lot and you also have a lot of knowledge and talent , I am at your service in Venezuela for when you want to come to know, my House is your house, You are welcome Brother 🙏🏻👍🏻
¡¡¡¡¡¡BRAVO DIMASH, 1🌏 !!!!🙋🏻♀️🇺🇸
👏👏👏
Ken, also notice that there is no strain or push in his neck, shoulders, or face, he is totally relaxed to allow the air to flow evenly over his vocal cords. I am ever amazed at how he knows exactly where each point of the register is. I think he has a piano on his cords. He also sings with his entire body. That is pure operatic training.
👍💜😀
Well if he is a baritone he can do all kinds of freakish stuff with his voice he can go super soprano high and do the low growls and he can do all kinds of things with his voice i don't why people will talk smack or put him down and say he isn't baritone he is awesome has a variety of different tones and techniques in his voice the side is awesome he can blow away a lot of singers so he is awesome a great singer love him live great range Ken 👍👍👍👍👍👍👍👍👍👍
Cade- whether Dimash is a high baritone or as Dimash himself puts it, " just a normal tenor", he had to earn every single one of those notes. This is an extremely valuable lesson for all of those looking to increase vocal range and control with proper training.
Yes your exactly right Ken thanks for explaining all this every bit of what you said is exactly right couldn't have said it better well anyways he is a awesome baritone tenor singer what he can do with his voice is outstanding and very awesome he is a great singer Ken
Yes Ken, I really like it! Although I don't sing)) But I listen to you and understand how difficult it is, how much work it takes to sing like Dimash! Big respect to Dimash! He is young, but he sings like that! Imagine how much, very hard he worked! All childhood, all youth! Everyday! Everything to go to your goal! Dimash is not an alien! Of course he is talented, but he is also hardworking and purposeful! Dimash deserves respect! Very! Thank you Ken for bringing it to your attention!
Well said!
Hey beautiful
Thank you, I dont know why I read your text with tears, I wish that more young generation will be inference by Dimash. He is God gifted.
I agree with you that Dimash is a baritone with great opportunities. It is enough to listen to how he speaks. Every year his spoken voice becomes lower and deeper, very masculine. The singing range can be developed more than nature has given. In the case of Dimash, these are unique bonds, incredible efficiency and an amazing love for music! And yet, it's also somewhat of a miracle! Because besides the possibilities, there is a unique, very attractive, mesmerizing voice timbre - very pleasant.
There are vocal equilibrists on the stage, there are unique ones who take very high notes, but sometimes it is unpleasant to listen to them - their high notes are like sports.
And the high part of Dimash's range is always "the singing of an angel"! You listen and enjoy every moment. And then another, and another. Magic!
Thanks for weighing in. Thoughtful response!
I am addicted to his voice and reactions😅😅
He's amazing, no doubt!
I’m a lay person in music but I know my ears recognize Dimash’s rare quality and genius! It’s not just simply listening to him; it’s the whole experience of sound and vision offered by his art that floors me! Thanks for spreading the facts of his art and removing doubts about his incredible capabilities! You’re a great artist yourself!!
I could hug and kiss you!
Thank you, Calista!
You got me all hooked up on Dimash! :P He's simply brilliant and talented. His talent is simply unmatched.
Happy to hear that, Dreamy Bokeh!
Thank you for the analysis! As I have noticed, classical singers change their voice classification based on their tone of voice (and how they can support the notes). So what you said about him being a high baritone is completely true. His tone and resonance in his lower register is so warm and vibrating that it suggests that he has "built" that register first. Of course he was familiar with higher register as a child, pre-puberty. But after puberty he has worked A LOT to maintain those higher notes. I have spent countless hours of my life in a practice room, and so have my opera-singer friends, so I know that Dimash has practiced soooo much to have this amount of control. It makes me appreciate him as a musician immensely. Ofcourse, he has a lot of natural talent also because of his childhood, surrounded by music. But don't forget the hard work these aliens like Dimash and Ken had to do!
Absolutely. Thanks for the thoughtful, experienced response. Rock on!
He sounds so good in any register! That’s why it’s so hard to tell. Does it matter what his speaking voice is? His is usually pretty low.
You're right! Always great!
Hi Ken; I can't sing or happy birthday, but your classes hypnotize me. Greetings from Argentina.
Greetings! Thanks for the visit!
Baritone, tenor, countertenor, alt, contralto, soprano, coloratura soprano, falsetto...thats all are only words between musicians for orientation. After comed Dimash between them and singed all registers together....😂
Whatever you want to call him, he has worked incredibly hard to get here, Ken!
@@kentamplin Верно говорите. С 5 лет и до сих пор учиться...Бог воздал его титанический труд...И теперь мы все слушаем этот невероятный голос...
@@kentamplin Dimash is a perfectionist, at the age of 26 he's given 21 years to hard work as a vocalist ❤️
Ken, I think you're right on the point with Dimash having natural high baritone voice. I loved your detailed explanation of every tone and technic behind that - to people (like me) with some musical education background, it makes perfect sense.
Besides the obvious major talent, the reason behind all these beautiful, seemlessly mixed vocal technics, - this guy is highly educated. This is just from Wiki:
"At the age of six, in 2000, he won the national piano contest Aynalayin.[10]
[19]... Kudaibergen completed a Broadway Musical master class in 2009.[21] In 2014 he graduated in Classical Music with Major in Vocal (Bel Canto) from the music institute of K. Zhubanov University in Aktobe.[22] He began his studies in Contemporary Music (Jazz, Pop) at Kazakh National University of Arts in Astana,[23] where he graduated with Major in Vocal on 27 June 2018.[24][25] On 18 June 2020, he graduated from the same university with a Master's Degree in Composition[26] by defending his Master's thesis with a perfect score, and receiving a recommendation for admission to doctoral studies in music.[27][28]"
Glad it makes sense, Irina! Appreciate the info!
@@kentamplin sure, looking forward to more musical explanations! Love it! ❤️
@@kentamplin by the way, to fully illustrate his baritone voice, you may want to view the video where he sings “Ti amo cosi” with Laura Fabian and Aida Garifullina. Or when he sings “Ulisse” with Aida, he goes even lower. He humbly lets ladies lead with high voices there 🙂
Ken - the most interesting and knowledgeable vocal coach!------ Ken this is my absolute favourite of Dimash and never tired of listening to it - so many things going on but sounds fab!
Thanks so much, Jane! Appreciate it!
Bravo Dimash ! Dankeschön Ken, Respekt! 👍
Thanks for listening Mariya!
👍👍
To some extent Dimash may have been helped by nature, but it took a whole lot of practice and hard work to get to where he got. You do not naturally just slide up and down and do those runs, nor reach the high notes. His baritone actually probably helps him in whistle register too, but he had to practice that for many long hours. Thanks Ken. I wonder more who taught Dimash :-)
I'm sure he has been living and breathing singing his whole life. And it certainly shows!
Here Dimash sings together with his teacher Marat Aytimov th-cam.com/video/-HpJ4B-Dfbk/w-d-xo.html
His teacher's name is Marat Aitimov
yes exactly.
@@kentamplin His father Kanat Aitbayev previously led the regional Cultural Development Board of Aktobe.[11] His mother Svetlana Aitbayeva is a soprano singer at the Aktobe Philharmonic Society,
(wikipedia )
You should change the name of your course now: "How to sing better than anyone else... Except Dimash, no one can sing better than Dimash"
Isaac Abad😜
Agree!! No one can sing ..but him. His voice is a top level but I can't feel the emotion in it.period.
ha ha ha ha I agree!
@@kentamplin Hello Mr. Tamplin. I wrote you everywhere i could find you but didn't receive a response. I am a big Dimash fan and i translate reactions from english into russian. May i have your permission to translate your Dimash reactions and upload the dubbed version on my channel?
@@AlanAA I appreciate your interest however translations are not anything I can control and I can't be certain of being represented correctly. I'm sure you have the best intentions however, this request is made regularly of me and it's my practice to decline. Thank you.
Makes a lot of sense. I have just listened to one of his newest songs, Stranger, and he gets really low (to a C2 if I'm not wrong). Inspiring artist.
Ken, I don't know Dimash, at all...first time hearing him. The singular thing that definitely stands out to me is his supreme vocal control and command, throughout his vocal ranges (yes, plural)...and that is NOT falsetto...maybe a little at the exteme upper register....he's had years of vocal coaching, that's obvious...and probably LEARNED to mantain his younger-days boyish skills into adulthood. Tremendously good example for all male vocal artists to study. Good job !!!
He is totally amazing, no doubt about it!
@@kentamplin ...understatement...
The point to the video is: whether Dimash is a high baritone or as Dimash himself puts it, " just a normal tenor", he had to earn every single one of those notes.
This is an extremely valuable lesson for all of those looking to increase vocal range and control with proper training.
A lot of coaches promise what they can't deliver. They promise range, power, control etc.. but never deliver. They show no students doing it and don't demonstrate itr with their own voices.
The proof is in the singing!
@@kentamplin Dear Ken May I ask you question, some people thought Dimash doesn't know how to sing full bel canto opera( like he can not sing without mic), he only know some bel canto
technique . Also some people believe Dimash push too hard to get the dark thick timbre, which will harm his voice in the future. What do you think?
@@SingingLessonsINC IMHO, he's some kind of a tenor. Because in this video at least, his low notes were accutare, but very weak. I'm a high baritone myself and can produce very rich low notes down to G1, after that it gets weak and unreliable. I didn't measure what the low note was in this video, I'm guessing a B1, but it's quite weak.
I love your Dimash reactions, this analysis is great, thank you Ken !!!
My pleasure!!
In my opinion, Dimash is a baritone, tenor, alto, soprano all rolled up into 1! He can sing any note in any of those registers! That’s why people say he’s an alien. 👽
👽👽👽
Maybe cut the baritone part though =)
@@andrejz8954 no he has song where he sings G2 effortlessly
Ken singing SOS would be awesome!
Thanks, Daniel!
There is a video showing Dimash’s progression as a singer from childhood. He definitely was born with very long and flexible vocal cords and perfect pitch. But the rest is a result of training, discipline and determination.
I'll have to check that out, Tyler!
@@kentamplin Look for, Amazing Vocal Transformation - Dimash Kudaibergen. You can tell he has put in the work.
Hello, Ken! Thanks a lot for this Dimashathon! 🥰️ Please make an vocal analysis of his performance with the song "Samaltau" at the Tokyo Jazz Festival. He sang the whole song sitting cross-legged, it's incredible!
Thanks for the suggestion!
Hello Ken! Amazing analysis as usual! It has been said by Dimash himself that he is a tenor, but I'm intrigued by the baritone theory! I'm not a pro or whatsoever, but I've been singing in a choir for more than 10 years, performing classical pieces most of time, and our vocal coach there (a professional classical singer) said to us that the voice fully matures at certain age. I can't remember if he said around 30 or 40 yo, but there's still a chance that your theory is proven right. Dimash has only 26 yo, so he has a long way to go with maturity, and you can already tell in the last 3 years his voice has been gaining more and more deepness. See you in the next video! I'm really enjoying this Dimashaton!
Thanks for weighing in, Angélica!
Hi! Ken you very popular positive man! I watch you, I take energy 👍👍🙏! Please follow Dimash more!🙏🙏🙏🙏
More to come!
👏👏👏👏¡¡Bravo Tamplin!!!!!👌🏻👌🏻
Thanks for listening, Georgina!
I subscribed from the very first your video with Dimash and waited patiently for second Dimashathon
Thank you for that! More to come!
@@kentamplin yeeeaahhhh 💪💪💪💪💪💪
Like, like, like, like, like, like, like, LIKE! Ken Tamplin Vocal Studios Rocks! Almost can’t wait till tomorrow knowing Ken Tamplin is rockin Dimash 😎🥳🎉🎊🎶
I'm glad you're enjoying my Dimashathon, Christopher!
It's hard to classify dimash lol I was convinced he was a high baritone also because of the depth of his sound down there and his great resonance in the bariton range but then I would hear his tenor stuff and I just don't know. Dimash is his own classification 😆
Juan Garcia👍
Hi again Ken, thank you very much!
I am a mathematician. We say sometimes, if we're working on very interesting math problems, that the music is in our math... Dimash said in one of his interviews, that singing is not easier than math, maybe more difficult. After your last lessons I have the feeling, that there is also math in singing!
Thanks for sharing that, Kalamkas!
Please react to "Passione" where he sounds more a baritone. People keep saying to you how Dimash said he was a tenor, but they forget one detail that he said it years ago. Same with his teacher; he also said it years ago. His voice definitely has changed some since then. And add to it the fact that his current natural speaking voice is pretty deep and low and how more comfortable he seems to sing as a baritone, I would think at this current stage in his life he could be described as a baritone. And I would be curious to know what his answer will be if the question is asked now. Normally people's voice categorization doesn't change in their adult lives, but with him it can definitely be debatable. And I can see why his voice type is such a discussion topic though, because he really is so hard to categorize in any shape or form, so I understand why there are constant debates about this. By the way, here is the link to Passione which I recommend you to react to where (to me) he sounds like he is a baritone rather than a tenor : th-cam.com/video/8QtI_fpTIxc/w-d-xo.html
Thanks for the reasoning. Makes complete sense.
I was a tenor all my life until mid 20s when after years of partying and abuse I'm now a baritone...it happens...i can still sing tenor and also but Baritone is most comfortable now
Thank you, Ken. You are such a great teacher, everything is clear, I listened to you so carefully and delved into your every explanation of the technique of performing Dimash , in fact, I don't understand much about music, but your explanations were so professional, so clear that I even tried to repeat your sounds . 😃😀 Good luck Ken and 1000 000 subscribers to you!!❤❤❤
Wow, thank you! Appreciate you stopping by!
This is my favorite version of "SOS" (I can listen to it endlessly) 🥰🥰
It was through this performance that I got acquainted with the work of this amazing artist. Apparently, I will review your wonderful vocal analysis several times too 😆😆
Nana Sorbonna😀
It's like opening another door of Dimash universe every time I watch your analysis to him. Well done.
Thanks for the visit, santhy!
Anyone that talks smack about other's when it comes to speaking a foreign language, clearly is just covering for their own shortcomings. I am a native English/American speaking person and at times - not very well. ;)
You're right. It's a ridiculous statement. Thanks for the visit!
Yup, I only speak only 3 but worked with an African person who spoke 5 and Germans made fun of him because his German was broken and heavily accented 😎
Dark Shadow II....I'm from West Texas, (cowboy country). Dad moved us to Wisconsin (me, age 6)...teachers hated the "twang"...couldn't understand me. Mom paid a local lady to teach me proper (northern) English after school...every day.
I can bounce from proper English to Texas drawl in a heartbeat around other Texans...and it's REAL Texan, not "put-on".
That experience stayed with me and drove me...six years of German, including University-level, night- and summerschool, etc (and other training), and I am now fluent (speaking, reading AND writing) in 16 foreign languages....# 16 is English ....because, to a Texan, English IS a "foreign" language !!! ... as I learned early on.
Ya'll take care...all the best. Yours was a great comment. Thank you for posting it.
Doug (a.k.a. "Crossbow", BMI)
amen
@@kentamplin All the trolls who are hating on the guy for not speaking english. I guarantee they do not have is bank account
My girlfriend lived in France for a time and told me this tune is quite popular there. I know it's from Starmania and I have seen it sung by the original performer who unfortunately died young. It's amazing to me how Dimash makes pieces his own.
He really is extraordinary, isn't he? Thanks, Dallas!
@@kentamplin thanks for everything you do
Кен, Вы делаете такие великолепные реакции на Димаша, что я давно на Вас подписалась и, с восторгом, смотрю - не оторваться!
By now. you have probably seen this interview, but I saw one where Dimash was asked whether he was a baritone, tenor or what. He answered with all sincerity, "It depends."
Thank you Ken💖I dream of a duet of you with Dimash, it will be wonderful, you both have wonderful voices! 🙏🙏🙏💖💖💖
Maybe one day, samy bel!
@@kentamplin I wish it with all my heart 🙏🙏🙏
Thank you for this in depth analysis. He is an out if this world vocalist regardless of vocal type.
My pleasure, Tyler!
Dimash!!! The best of the world!!! 👏👏👏
Juan carlos Diosquez 👍👍👍
@@kentamplin genius,I leave the link to react to unforgettable day in Gokku th-cam.com/video/u52XDilf628/w-d-xo.html
I'm loving these vocal analysis/tutorials. Thank you for doing it, Ken c:
Glad you like them! More to come!
Thank you Ken!! I'm loving this Dismashaton and how you explain things!! Keep em coming! 😆😆
More to come!
Dimash's voice is UNIQUE. His voice when speaking is quite low, but paradoxically when he yells (speaking) to the audience un order to cheer them in the middle of a concert he sounds really high and sharp.
Finally someone smart like you Ken. I'm a high barritone myself, but I love singing in tenor and high tenor, I even find it easier cos I was training it much more than than my natural barriton range and now my friends who don't train their voices at all are saying to me not to go higher than E4 cos I'm gonna hurt my voice, while in the same time they can't go 2 full hours of singing
Boom! There it is!
I think the reason it's argued that he is a tenor is because Dimash is quoted as making that claim. But I believe that was a few years ago. Is it possible that as he has matured through his 20's it has moved down to baritone?
@@jrogersdal I think so too 😊
@@jrogersdal Yes.
I appreciate it Baritones. Because as basses or bass Baritones the range can be stretched but the training is far different.
These are my favourite videos, when you break it all down and show us how it's done. A 4 minute video becomes a half hour video, and I'm here for it! I pray the Dimash-athon never ends!
More to come! Glad you're enjoying the DiSMASH-a-thon!
Okay detective Ken Tamplin. Now we all know that he is a high baritone 😂 Thank you for the video!
Thank you for listening!
Please reaction Dimash again and again🙏🙏🙏🙏♥️. Thank you
More to come, Diilyara!
Hi Ken! Ohhh I love this Dimashaton! Hope it wil be a long one :-)).
Thanks, much appreciated. Cheers from Holland again!
More to come, Lied14!
This is really amazing! So much knowledge. I bought your course 4 years ago and never got the chance to dive into it. But I am going to restart it tomorrow and stay consistent with it.
Happy to hear that!
Actually, i'm a classical singer and i can reach as low as a d2 and as high as a#4 (in a good day) with lyrical voice (not falsetto). I was once able only to reach e#2 and d4, but worked hard and get such results
Awesome! Good for you, Luca!
Wow Ken! you are priceless in your knowledge, **experience** and wisdom, you truly are a professional from the earlier wiser generation, a rarity these days, this is one of the best reviews and lessons Ken, great work mate!
Wow, thank you!
Dimash said in an interview “I’m just an ordinary tenor who managed to expand his vocal range” also his vocal coach in Kazakhstan acknowledges him as a tenor 🤷🏻♀️
Thanks for listening!
21:04 Dimash’s head was shaking from so much resonance by hitting such a HIGH note! WOW!! What note is that on the piano?
It's a good thing the building didn't come down on that note! Everyone's eyeglasses shattered!
I like your vocal analysis and your enthusiasm 😚😚
According to his vocal teacher, his mother and Dimash himself, he is a lyric tenor who over time has developed his vocal skills very well. In my opinion, Dimash is an exception to the rule... and very many vocal teachers are confused (some believe that he is a baritone, some believe that he is a tenor). In any case, he is a miracle of nature ✨✨
Thanks for watching, Sony Sony95!
I've been into bel canto for almost 11 years coming from Italian system. We have always considered A4 to be the top note in the baritone range, not F. Also we have always considered over registry to reach up to C5 with real mix voice, not todays meaning of mix voice. Even in Rossini operas you can see baritones using falsetto with full resonance to reach alto registry. The difference comes when we consider contemporary equipment that allows different techniques to be considered useful.
D. Himself has said he has long vocal folds. It has been studied! Physically he is baritone with insane vocal control. You are right Ken :)
Laura👍
I have NEVER EVER seen anyone react to a song like you sir, thank you for all the amazing information you gave, that was so informational and so professional.
I appreciate that!
Ken, I could listen to you teach/talk for hours on end and never get bored. Anyone who has you as their vocal coach is a lucky person. I found your channel through Anthony Vincent. He has nothing but good things to say about you and Anthony is an awesome vocalist. I can't carry a tune but I never let that stop me because I can't live without music! Lovin' Dimash week.💕
Anthony is my boy! He's great. I'm proud of him.
I like your new reactions to dimash verry well. It's not all my opinion, but its honest and real.. Your reactions are profund with so much knowless.... I understand that. And i'm German.... I was in a quire 40 Years before and love music. Really nessesary for me is, to know, that he (Dimash) lern every day new stiles, new ways, new influences for his music. No one title is the same and so it's important to know, that he don't give every time only the peak of his famous possibilitys, but also a quiet or traditional song - that makes for me the real artist. He is studiyng so many kinds of music, singinging insrtuments, composing, vodeo and sound tecnique. I hopo you can understand my bad english, but i never learned it at scool. so, sorry. For me, he is a great artist at his beginning.
You're right, it's important to try new styles and expand your range. Thanks Ralf!
Without Dimash and Ken Tamplin, you would never think that singing is such a complicated and difficult art 🙂
Worse than nuclear physics .... or brain surgery .... 😀
Thanks, Ken! ❣️ And Dimash - the king of the higher sphere of the music world.
Thanks for watchiing, Ylle Kruuse-Kingo!
Yeah! Right?
...unless you’re another singer. Then you get, even with his natural gifts, just how much work he’s put in.
Hey Ken, nice to see your introspective analysis. I know that your coaching is to help people sing professionally, but I'm pretty sure that only the lesser amount of those who underwent your teaching would ever be deemed, so to say, "a lucky duck" to achieve even your level of mastery, let alone Dimash's phenomenality you talk about. Between, you're one of the fewest coaches who dares to demonstrate some of those difficult stuff in-situ, which apriori is the great evidence of your own talents and tonnes of hard work and strenuous efforts you had to put into all that. Kudos and credits to you! Dont stop Dimashaton. He ain't no joke and by now is the world's most beloved, technically sophisticated top level singers!
Thanks for your kind words!
very cool hearing you sing high, and all the commentary as well. Love Dimash, feel free to do more videos of him. 🙂
That was very smart of you for coming up with "Dimash-a-thon"! I love it!
Summer McPherson😁
His voice has matured since the singer remarkably. I recommend Ulisse with Aida Garifulina he does a robust g#2 with a classical approach. I believe he's singing baritone for most of that song, Aida is a Soprano with the Vienna opera.
Thanks for weighing in, yaimiana!
My favourite of all Dimash's duets! 😍
Thank you Mr. Tamplin. Your analysis is so profound and useful, I love your way of commenting and criticizing based on your knowledge and experience and facts, rather than the pretend-to-be-shocked and artificially superficial expression. I'm not a singer or vocalist, but I like to hear your analysis, those are very helpful. Thank you!
You are very welcome! More to come!
This kind of deep explanations and demonstrations are one of the reason you're one of the best reactors - Giving something we actually need to pay attention to understand
Glad you enjoyed it, Lucas!
Thanks Ken you react to my favor singer right now Dimash is very amazing
Awesome! Hope you enjoy the videos!
Dimash is certainly a tenor. It is possible for certain kinds of tenors with the right facial resonators to have booming lower ranges. In example my Passaggio lies on the D-G spot but I have those same resonating lower notes. Lots of male broadway singers also have this quality to their voice such as Ramin Karimloo or Derek Klena.
Thanks for listening.
@@kentamplin no problem! Enjoyed the video! Regardless of type though he is definitely an amazing singer. Loved the coloratura!
The point to the video is: whether Dimash is a high baritone or as Dimash himself puts it, " just a normal tenor", he had to earn every single one of those notes.
This is an extremely valuable lesson for all of those looking to increase vocal range and control with proper training.
A lot of coaches promise what they can't deliver. They promise range, power, control etc.. but never deliver. They show no students doing it and don't demonstrate itr with their own voices.
The proof is in the singing!
Factors to consider if Dimash is a baritone or tenor apart from what area of his voice register he produces with the most ease and is the most resonant (fair to say he excels equally in all areas due to high intensive training for many many years but before he trained his voice the true nature of his voice would be much more evident). Consider his speaking voice which usually is an indicator of what his most natural day to day regular sound is......Freddie Mercury is often said by some to be a highly trained baritone mainly because of his low deep warm and thick speaking voice. Second extra factor to consider if Dimash is a baritone or tenor is a bit harder to determine and that is the nature, size, thickness or length of his vocal cords. A medical examination can settle this debate. Just because you sing like a tenor or counter tenor due to intensive regular training for many years does not make you a tenor by biological construction if your vocal cords are that of a baritone. Believe it or not Michael Jackson was a baritone and there are some leaked videos (of him vocalising with his vocal coach) of his "real" speaking voice on TH-cam that proves this. 5 cents chipped in!
@@SingingLessonsINC Of course everyone has to earn it. Even tenors earn those notes just as much as baritones. It’s all about mastering the Passaggio and being able to slide through the cover out towards the really high notes. The difference is that most baritones have to start from the E wether as most tenors sit a tone higher on the F#. Besides that, what your saying sound a lot like marketing with no substance on how to earn it. The voice is really something which can only be discovered from self discovery; not one single teacher can get you to learn everything. Learning fully takes a lifetime.
Super interesting video! I love the depth of your knowledge and how clearly and emphatically you explain it.
Glad you enjoyed it! More to come!
Ken, thank you for lighting up our lives and helping us reach our full singing potential--healthfully--with your uniquely charismatic, truly transformative teaching style and unassailable talents. You are amazing!
My pleasure!
Hi Ken. It’s so great too see one of your videos again. It’s like a tonic, to the soul.
Welcome back, Dale!
@@kentamplin good too be home Ken.
excellent analysis to the great Dimash, you gained a new follower.
I hope you keep analyzing more Dimash songs, I think he was born with a gift, but I work as if he didn't have it and that's why he is.
Greetings from Peru
Thanks you, James!
Really great video Ken ! Thank you so much 👍👍
My pleasure!
I listened to some of your covers of some great classics, and boy can you sing. Amazing stuff!!!
Glad you like them!
I am mezzo and still working on my voice to this day, I have wobble issues when I sing soft. Though I have a niche for belting. I started singing at 7. When I first began training properly at 17, I was feeling sad because I couldn't hit higher notes. My vocal teacher told me this.
"You have thicker vocal chords than a soprano but the good thing is that you can train your chords to get thinner and thinner if you practice. If you have a high voice(thin vocal chords) that's it for you.You can't make them thicker, they have a limit."
After that, I believed in myself and get asked if I'm soprano because I can sing high. The answer is no. Like Ken said, I HAD TO EARN them notes doing vocal exercises. When you have a lower voice you can train it to go higher and guess the end result? A great range and technique. It's a blessing in disguise!
So is Dimash a baritone? I agree with Ken, the rich lower range can't happen if the vocal chords aren't thicker to begin with. Dimash is blessed but I know it took a lot of training to get that kind of technique and range!
Spot on Andrea! You go, girl!
You rock the voice teaching Ken.This guy's phenomenal and I'm stoked by you breaking it down so I can try to mimic what you're doing! No I'm not you or Dimash but maybe just maybe I can be the best baritone I can be.
Go for it, Paul!
An excellent review !!! I had the pleasure of watching your video with a reaction to dimash, but now, watching something more technical I was impressed with your knowledge. I am very lay with singing, but I loved it
Glad you enjoyed it
Thank you Ken for this analysis. Man, you`re a total expert!
My pleasure!