Could not agree😂 more. I believe the birth of the voice is the chest. That concept is I believe a good reason to incorporate portamento not only in scales but also in the singing of roles. Best example is Corelli among other great singers
Thank you so much for this very valuable content ! Could you add English subtitles to your other videos about vocal technique ? Can't wait to understand precisely what you say !
I am no musician but I do enjoy your lessons. I'm afraid we need a special lesson on "narrow position." Without which this lesson would be incomplete for viewers like me.😂 Thank you in advance.
Hi Jungsin, i realized maybe Maestro means narrow larynx position, not to sing with spread larynx. Voce chiusa ist the italian term i think. But maybe I am wrong
I will say that narrow larynx does not mean squeezed larynx or throat. It means a way to focus the sound. That is my understanding, but I do not use this technique, at least not consiously. But maybe Maestro means really something different
I shall add some things in my experience. The way to focus the sound, way to narrow (not squeeze) the larynx : you start off with wide open throat. That offers naturally not so high frequencies, it does not carry well. Start somewhere not so low, start wide, like in a yawn (maybe more profound pre yawn, not like fully expanded yawn, but feel free to experiment with everything). The star ascending in scale and as you ascend, CLOSE the vowel. Do not put the tone back, it should be more frontal, but rather just close the vowel. Almost like it was said, get the vowel back, but keep the resonance forward. Then as you complete the ascencion of the scale, there should be this feeling of narowness (again, not squeezing sensation!) in the throat “like only a thread of air is escaping”. Then you should be in the narrow position how Maestro in the video is very probably talking about :)) If you wish to look at it, check webinar on Vimeo with Salvatore Fisichella, the trailer is here on RU-vid. It is from MOS Mediterran Opera, it is made by Jack LiVigni. There are other webinars available for renting directly from Maestro LiVigni if you are interested, they are quiet inexpensive and very interesting to watch if say at least. But the narrow position is explained like this in the Maestro Fisichella webinar. It is in Italian, but it has hardcoded English subtitles. Have a nice day ;)
Maestro, thank you soooo much for this great video. Please , one question. With the term «Narrow position» you mean a horizontal mouth shape, where the mouth is not that open as usual and the lips of the upper teeth is raised up in order to achieve a bright sound?
교수님의 귀한 강의 잘 보고 있습니다. 교수님은 노래하실 때도 후골(Adam's Apple)이 거의 고정된 모습이시고, 말씀하실 때는 후골이 목에서 상당히 아래 위치해 있는 것을 볼 수 있습니다. 그러나 저는 가만히 있는 경우에도 교수님에 비해서 3-4cm 쯤 위에 위치해 있습니다. 흔히 고음을 내기 위해서... 성대를 붙이기 위해서는 후골이 올라가면 안된다고 하는데, 후골을 낮출 수 있는 훈련방법이 있다면 가르쳐 주세요. 저는 현재 노래 중에 G 음까지는 내는데, 그 다음은 인골라가 됩니다. 긴 글을 드려 송구합니다. 앞으로도 건강하신 모습으로 귀한 강의 주시기를 소망합니다. 감사합니다.
사람마다 후두의 위치는 다릅니다. 아마 테너 이시겠죠?? 다른 방법은 없습니다~!! 호흡편을 좀 보시구요~! 거울 보고 안 올라 가도록 연습 하셔야 합니다~!! 누르지만 마시고 말 할때 보단 조금 낮게 위치 하도록 거울 보고 연습 하세요~^^ 응원해 주셔서 감사합니다 ~!! 💕
I think it can be confusing because this is a more general explanation that appeals to the common sense of ordinary people, rather than a scientific one. To easily feel a narrow position, try making the [ee] vowel sound. It will produce a sharp and bright sound. Once you become familiar with this sensation, you can produce a bright sound in any pronunciation without losing its brightness. Gerard Kim then suggests using 'girare' and 'portamento' to add chest resonance. If it's difficult to create a narrow sound with a vowel other than [ee], imagine there's a needle in front of your forehead. Then imagine your voice as a thin thread and pass that thread through the needle. This training will help refine the narrow position.
@@albertorodriguez3927 No! You can definitely feel it with your own ears. For example, try pronouncing [OO] and [ee]. You will probably notice that when you say [OO], your voice becomes slightly darker and loses some brightness as your larynx lowers. On the other hand, the pronunciation I mentioned, [ee], will make your voice brighter and sharper. (This can be easily discerned even by your own ears!) In this video, Gerard suggests first forming the brightness of [ee] (a narrow sound) and then producing the chest resonance of [OO] using the techniques "portamento" and "girare." This is a technique known as "chiaroscuro" in Italy, and it is essential for anyone studying opera to master this technique.
@@albertorodriguez3927 Ultimately, even when pronouncing [oo], you should not lose the brightness that [ee] possesses, and conversely, when pronouncing [ee], you should not lose the darkness that [oo] carries. In other words, regardless of the pronunciation, brightness and darkness must coexist. Gerard argues that to achieve this coexistence, it is recommended to first establish brightness (narrow position) and then create darkness(girare,portamento).
Good advice, good job, good work, but not that good rendition, the voice is not free, the articulation is debatable,the tongue is totally retracted, the darkness is faked.... so sad to see opera becoming that ! But keep do what you love and working on it ! ❤
Was gonna ask why you didnt judy sing tenor. Pay is better. Then i heard the final note. Baritone is nothing to be ashamed of. Singing in this manner will be you ruination at a young age.