What a wonderful voice with beautiful tone on those highs as well as all the way through. There are tenors who sound less pleasant on the notes you said you couldn't make. Courage to try and character to show the truth. That's a formidable combination. Bravo!!
Dear Lucas, I'm a professional lyric baritone too, and love listening to your videos. It's so refreshing that you don't take yourself so seriously! I can do that high C, but the problem for us, even if we get it, is that the tessitura would always kill our voice after some minutes, let alone doing a whole opera performance ... But I have to say: Your B flat is great, and I would love to hear you sing Carmina Burana with the high B natural (voix mixte or not)! Thanks so much, also for the warming up and technique tips :)
I agree with Wagner. I am a baritone too, I can hit that high C, I can also sing the Fille du regiment aria, but sometimes I cannot sustain a B flat, like in Celeste Aida, its because of the tessitura. Another thing is the color of the voice, it does not sound that natural in that high range notes. However, this exercise helped me to open the voice in the high baritone notes.
You sound like a powefull dramatic tenor with all required features and qualities to the voice. Maybe you could consider trying some od those roles... I think it would be a huge success
Your voice is gorgeous! What God gave you is glorious and you have developed and honed your craft to a fine art! Who needs another pushed up baritone turned Tenor? There are too many squalling and squealing out there now! Your Figaro in Barber was magnificent! Vocally brilliant and so funny! That performance was one of the most enjoyable I have ever heard or seen! You do Popular music as well as Opera and you have an amazing range ! I appreciate you Sir, just as you are! You're a gloriously gifted Lyric baritone with amazing agility, a beautiful timbre and technique! Bravo Mr. Meachem! I can't wait to see you live again! I await your next appearance in the DMV area where I am now living! Have you recordings or DVD'S available? I am a hard core fan!
Because you have a strong voice both in the top and low notes, you are able to sustain equal intensity with each note. You can hardly hear the natural thinning of the voice as climb up. Most singers thin out- even opera singers. You hit that strong sustained B- without mixing-. Very impressive! Because of the strength of your voice it doesn’t matter that you can’t hit the C. So the quality of the sound goes a long way rather than how high or low you sing. However, I do understand the determination to want to complete the octave. What the name of the song you are singing?
Thanks for addressing this head-on! I'm also a lyric baritone, and I can't tell you how many people asked me if I wasn't "just a lazy tenor," starting in college and up until I was approaching the age of forty. Oddly enough, when they stopped asking that is about when arias like "Di Provenza" started to feel really comfortable. I had one teacher early on who said I could probably have a go at being a tenor, and one years later who said it was a vocal possibility, but that my persona was definitely baritone, for whatever that's worth. Just keep doing the wonderful singing you're doing, Lucas!
I'm not even a lyric baritone (I'm a Kavalier), and still, because I have solid highs, many pseudo professionals told me "you know I think you're really a helden tenor"... Nothing we can do about that :))
Yeah, building onto that last bit, there is definitely an element of choice and temperament when it comes to in-between voices, though the rep could be a bit restrictive depending on the direction one goes in. For example, prime Mario Del Monaco could've convincingly sung a role like Sharpless or Marcello, but not Scarpia.
Tüm baritonlar buraya yazmış hepimize iyi bir örnek oluyorsun ve harika bir öğretmen.Bildiklerini paylaşmak istemeyen bir dünyada olabildiğince her şeyi paylaşıyorsun.Bir çok şey öğreniyorum senden çok teşekkür ederim.
Pretty much every single lyric baritone these days are having comments on their RU-vid videos complaining that they’re tenors. Even some people out there who belong to lower fachs, such as bass-baritones, are being misidentified as “tenors” these days just because they may have their bad days when their voices aren’t in a good mood and their scuro isn’t well on those days. It makes me cringe how people make a weird obsession over fach and are always complaining about singers singing in the wrong fach, as if though fach is more important than technique.
Ist not only about the top notes. Where does the voice has the most beautiful timbre. The german baritone Hermann Prey had excellent topnotes , but he was intelligent enough to sing bariton.
Hi, I actually think you could do a great heldentenor. They're not supposed to sing a high C anyway, some of them can though. But I am indeed a tenor and I struggle with anything above E4 I suppose, but I have no training at all. Maybe I will become a nice baritone like you ;)
If you can't hit an E4. You're definitely not a tenor. That might just be due to a lack of training, as you said :) All this Heldentenor and Spintotenor and all these other over specific voice classifications are a very bad idea. Tonality, weight of the vocal cords, and range all have to be used to understand your classification. My advice is don't worry about the specific colours (Dramatic tenor, lyric Baritone, etc.) Until you're a trained singer. The 3 main classificatios (Tenor, Baritone, bass) are good enough, unless you're a Basso Profundo which is super rare Happy singing!
@@StaticYonder I don't really care about voice types anymore actually, you can call me Tenor or light Baritone, it doesn't really matter to me. I'm not gonna try singing bass because my range doesn't go below A2 and well the high notes are tricky because I can sing them well up to A4 but to be considered good in a classical standard I just have trouble singing E4 and beyond, doesn't mean I can't hit them. P.S. I had recently 3 months of training with a voice teacher and I keep studying. Cheers comrad!
Heldentenors can hit a high c idk what u mean “not supposed to?” There are rules about what pitch you’re supposed to sing? I thought it was just where your voice is natural, comfortable and sounds the best and for higher notes where you can sing and generalizations about where certain boice thpes can often sing.
Based on range and whats typical for tenors you could end up being a tenor with proper training and practice- but maybe not. Can’t say for sure. Ur right dint worry too much especially for contemporary (non-classical) music.
A friend spinto tenor who is a soloist said after my first two years of singing when we met( I am 20) that to him my voice and persona fells a tenor...And this is my first year at government music school and the first lesson with a new teacher a spinto soprano she said that to her I am not a baritone and that if we drop the pushed low notes (low A flat, A, B flat)(hated them always) we will expand my vocal range( top note was E4- it think we have different names in EU B is H....) And it worked in half of the year now I can comfortably sing G and sometimes A flat...we kept the low B because as my teacher said I am not going to be a very high tenor- H tenors are called here meaning they can not sing C but again many dramatic spintos can not Cura, Kaufmann... I mean whatever works but I feel so much better singing this tonality which is higher... So no tenors do not need a high C to call themselves that...
Yes the timbre has a lot to say about voice type. For example, I can easily sing anything in the baritone range, from A2 to A4 and even higher. However I don’t sound like a baritone. My timbre is distinctly tenor. Specifically, Im a tenore di grazia, which is often misidentified as a baritone.
@@davidclerget9401 Yes, but unfortunately, there are a lot of whiny Baritone's that make up all sorts of excuses in trying to over estimate themselves into a Tenors range. There are clear cuts that determine voice type, HIGH baritones can sometimes reach low Tenor notes, but it isn't their comfortable vocal range. and that's where vocal types are estimated. Where your voice naturally sits.
I am sure that with a different approach, you could totally sing that high C. Just use less pressure and a smaller opening, initiate the note with 'voix mixte' and basically no air pressure.
Very interesting video and it highlights the difference between pop and operatic roles…to me from the R&B video you could definitely sing tenor with a microphone but with opera it’s not that simple.
Hi Lucas, I really enjoy your video's. I was wondering if you can recommend a good voice teacher (US) for a beginning opera singer? :) I appreciate your input 😀
Incredible high B flat!!! Bravo!! And I think that you are a baritone. And you can hit high C, just a matter of practice I think. Being a tenor or a baritone is more about tessitura, whether you're comfortable to sing the middle of tenor's tessitura.
The B flat was really good, have you considered learning Enzio from Attila? So many baritones leave out the Bb4 at the end of E gettata la mia sorte, and it really adds something. I would buy a ticket in a heartbeat if you did.
Could been a Heldentenor, but more of a lyric baritone. Your voice has some characteristics to Franco Corelli and this is why I am assuming you to perhaps be Heldentenor. Regardless of voice lable; you sound wonderful!
Hi Lucas! I’m a Lyric Baritone in training. Right now I’m a sophomore in college, and I am working hard to expand my range. As I work to get higher notes I seem to be losing my usable low range, even though I still work them. I was wondering if you had any advice on maintaining range?
I have the exact same problem, i'm light tenor and when i go up my low range looses brightness, i hope Lucas can answer us that question, maybe im straining my voice... but it doesnt make sense to me, if i am straining my voice why i can keep my notes beyond passagio clean and my low notes dont?
@@GersonHM4 focus on maintaining the position of ribcage. and remember the right sensation of hitting the low notes. That was my problem too, I solved it by not pushing too much and keeping my support intact. im a tenor too and a 2nd year music student
@@GersonHM4 Im guessing that what happens to your voice is that, when you go high and back to low notes, your voice gets drowned under the sea on low notes. Because of the stretch that happened to your voice when hitting high notes.
I saw your video where you were going through different comments and seeing if they could help you get the high C... it feels like maybe it's more of a mental block you have about it, since your B natural sounded perfectly good. I think you could sing the c5 if you play around with the coordination a bit. You even found that with the "voix mixte", you were able to get it. I think even tenors find that for the high C they have to go for a lighter coordination, like it gets more 'screamy' lol.
I‘m just in the third semester and I wish my G4 and A4 would be as solid as yours. Fine i‘m pretty young, everybody said just wait some time your voice has to grow. But how long, I‘m really impatient. Greetings from Germany 🇩🇪
I just hope people don't watch this and think that you can sing anything you like this guy is a a very experienced trained singer and has a very strong vocal physique however the odd thing about trying to sing outside of your voice type is that the results sound rather vague. Domingo is a tenor and to my ears when he sings baritone the sound is unlike a tenor or a baritone somewhere in the middle but very unsatisfactory
I have exactly the same thing. You can't choose your voice but you can train your technique. Lots of baritones can imitate a tenor voice color but it doesn't mean they are the tenors. Lots of people on RU-vid think that only the way of si nging like Franco Corelli or Leonard Warren is proper but they don't understand that not everyone can be spinto or dramatic voice and dramatic singing is NOT better techniques that lyrica singing. They don't even understand that type of a voice is not a matter of choice or better or worse technique. And they usually claim that lyric baritone is undeveloped tenor what is stupid.
You did it, if you did one you can do it again and again. If you cannot do those notes you cannot even do it once and you cannot even crack in it. Those Tenor notes are a total different technique. And I don't have to tell you that you have amazing technique. There's no reason why you can't sing both roles.
To me, it sounds like you are trying to extend your baritone high voice to the high tenor notes. But that will not work. The voice needs another gear shift, maybe even two, above high A flat to reach the high C. If you knew how to do it, you could sing an isolated high C pretty easily.
The guy is a great baritone his high B and high Bflat sounded great with how he sang it. Also enough with the "baritones are lazy tenors" nonsense we work our ass off to get to the point where we are we naturally have a different voice than tenors WE ARE NOT THE SAME TENORS ARE TENORS BARITONES ARE BARITONES. That would be the equivalent of me saying that tenors are just lazy mezzo-sopranos see how it doesn't make sense? It's the same for baritones who don't need to be like tenors.
tbf lots of GREAT tenors through XIX and XX century never had a solid High C Also lots of true full dramatic baritones had High D or even E... It's not the range or the so called "money notes" (an ugly idea stemming from italian loggionisti culture and then from american culture... no real "money notes" should be in Operatic singing, the whole entirety of the interpretation should count way more than just the one big central note in the famous aria). You are a baritone because your voice sits there, in the baritone vocal quality and I don't mean just the colour/timbre, I mean the fact that your voice feels at ease in certain tessituras and can show the proper natural dynamic a baritone voice would have in certain baritone scores. Then again you might not be the most bassy-roundy-chocolaty-ultravirile-greatlownotes- Low Dramatic Baritone, ok, but it is fine, I'm honestly sick of people trying to offend baritones who don't sound woofy and have high notes by calling them tenors, fake baritones, short tenors or whatever else.
Schipa didn't have the high C, he was still the greatest leggero tenor ever. You certainly have a tenor colour. The technique is just not refined enough.
It's not even the high C issue. Not all tenors have a high C either. You don't have the timbre of a tenor, you're just as much of a baritone as a baritone can be in my view (or hearing).
@@KajiVocals first we should agree about what head voice is, and then distinguish between the sonic result and the phonetic mechanism behind... the final goal is having a phonetic mechanism that is head with a sonic result that is "chest" (but is not chest)...
@@VanPortogal You are clearly talking about an M1 laryngeal vibratory mechanism with a covered timbre past the passaggio. Myself (and 99% of people in the vocal pedagogy field) refer to head voice as the M2 laryngeal vibratory mechanism without an F1/H2 acoustic formant coupling (yell-timbre).
@@KajiVocals I agree, but mentioning Del Monaco and not speaking about Kraus you implied that Kraus uses head voice... Kraus is a light lyric tenor, a voice that in early stages of training could be misclassified as a baritone. A think that if someone hits a B flat with a little more training can hit a B and C too.
His technique is just perfect... Today's top tenors in Alagna and Kaufmann can't do even Bb in a such way... (they were great few years ago, but time is merciless)
You’re great, I’m a San Franciscan! BUT!! I bet you could have hit the C the first time,if you did not suddenly smile into a new mouth position. Singing with a neutral mouth position (schwa) releases the voice from the face and mouth, so they can then used for acting, not singing. IMHOP.
Im a baritone and i can hit c6 in full voice. When I started singing, i couldn't hit over g4 in chest voice, it always cracked at a4. Now when i learned falsetto and subsequently head voice. It is a uniform range. Even my normal range can't match the projection and volume of the highest notes. Now i wanr to train whistle register to own the 7th octave.
@@saintsaens21 I see what you're saying but it's not silly because he IS an opera singer and we are speaking only within the context of opera. 🤷♀️ besides it's just for fun anyway. You definitely wouldn't find a baritone singing Rodolfo. Lol
You trying to sing that high note in the beginning is like me trying Queen of the Night with my non-existent or squeaky-broken high Fs. And I'm a lyric soprano who loves her high Bs and Cs. There is a reason why vocal categories are the way they are, and a rare singer will sometimes transcend them a bit, with varying results...but most of us don't with good reason. You are definitely a baritone, albeit a high one approaching Verdi baritone territory. It's not only the vocal color and weight, but where the voice is comfy and natural.
Not all tenors are supposed to hit the high C. And singing a B below that C doesn't automatically make him a baritone. Baritones aren't failed lyric tenors either. If he was a baritone, his B wouldn't have sounded as covered and strong.
@@Celatra I think it's mostly random people on the internet who claim he's a tenor, but any actual professional I think would disagree with that. My own operatic vocal coach agrees with me that Lucas Meachem is not a tenor.
That B flat was fantastic though! I'd say you could sing as a dramatic tenor too. I read that dramatic tenors usually avoid singing all the way up to high C.
@@bieganski_tenor6471 Actually, regardless of your voice type, there's no limit to how high you can extend your range as long as your swallowing muscles such as the digrastic and hyoid muscles are relaxed. Naturally these muscles want to tighten and pull your larynx upwards as you go higher. When you're a child, the swallowing muscles are much less developed and so singing high is easy. But when you go through puberty, the muscles fully develop and therefore naturally restrict your higher range. Though there are a handful of singers in the world who are naturally able to sing high notes easily because their swallowing muscles for some reason didn't develop to the extent of most people during puberty. Unfortunately those singers are outliers. Brett Manning is my vocal coach. He has awesome exercises to relax the swallowing muscles, like the vocal fry. They'll help you to build up and retain high notes. Even if you're naturally gifted with the ability to sing high, you still want to do these exercises. The tension in the swallowing muscles get worse from yelling, abusive singing, stress, being sick, straining your neck while lifting weights, age, etc. This would explain why certain singers with high ranges seem to sing high notes fine when they're younger but then lose the ability more when they're older. Unfortunately, most coaches totally ignore these exercises. They'll tell you that the only way to be able to sing high is to be born with the ability.
@@bieganski_tenor6471 Sure. Like, I've seen dramatic, spinto, and heldentenors sing up to high C far less frequently than lyric tenors. Remember the main culprit that inhibits the ability to sing high is your swallowing muscles. They need to be loosened up.
I’d love to see him try tenor, it would be like lauritz Melchior. A very powerful high voice. Im not labeling you or anything, I trust you know what you are. But there hasn’t been a good heldentenor for awhile and you definitely have the timbre.
The measure of whether or not you're a tenor is Eisenstein in Die Fledermaus. Do you bark it like most baritones, or can you sustain and sing through that first trio tessitura. Lucas is a great guys and whale of a singer, but he is no tenor. All you need hear is the F nat. No way.
HELLO MR. MEACHEM, THAT DAMN CHEST HIGH C WAS STARTED BY GILBERT LOUIS DUPREZ IN 1831 IN LUCCA ITALY AND HAS DRIVEN MANY A BARITONE & TENOR CRAZY TRYING TO SING IT ! YOU HAVE A GLORIOUS BARITONE WITH A RINGING HIGH A & Bb WITH EASE AND FRANKLY I'M PRETTY SURE YOU CAN SING THAT BLOODY HIGH C ! BUT WHY BOTHER WHEN YOU HAVE A GREAT RANGE ALREADY ? THE ANSWER OF COURSE IS, THAT EXHILARATION OF NOT ONLY SINGING THAT BLOODY NOTE BUT SUSTAINING IT UNTILL THE COWS COME HOME !! THE QUESTIONING LOOK IN YOUR FACE JUST BEFORE THE HIGH C DEFEATED YOU, INSTEAD OF BEING VOCALLY & TECHNICALLY GUIDING IT AND WITH THE MIND SET OF WILLING THE BRAIN TO TRANSMUTE IT INTO PHYSICAL REALITY YOU WERE HOPPING FOR IT TO COME OUT OF NOWHERE !! REMEMBER THE SAYING " HIGH Cs DON'T GROW ON TREES !! " AND " YOU HAVE TO LIFT THE PIANO BENCH BEFORE YOU LIFT THE PIANO " FRANKLY, YOUR PHYSIQUE AND BIG VOLUMINOUS VOICE SUGGESTS YOU COULD PUT THE PIANO BENCH ON TOP OF THE PIANO AND THE PIANO ON TOP OF A SHERMAN TANK AND LIFT THEM ALL!! YOU HAVE A GREAT DEAL OF KNOWLEDGE ON VOCAL TECHNIQUE AND POSSIBLY THE ANSWER MIGHT BE APPOGGIARE ( THAT GENTLE DOWNWARD TONAL PRESSING ), YOU KNOW , ALZARE, APPOGGIARE, RITIRARSI, SOSPIRARE, `E CANTARE , MANNAGGIA !!! I WOULDN'T OFFER AN OPINION IF I COULDN'T DO IT MYSELF AND I'M 86 ! I SING THE WHOLE ARIA ! I TEACH POP AND BROADWAY MUSICAL SINGERS SO YOU CAN TAKE MY ADVICE WITH A GRAIN OF SALT BUT I HAVE NO PROBLEMS SINGING HIGH C, D, E, F, AND EVEN HIGH G5. I ALSO SING THE SAME ARIA AND SUSTAIN THE HIGH C5 UNTIL THE COWS COME HOMEI ! LOOK AT MY TUTORIAL " PHARYNGEAL VOCAL TECHNIQUE BY TONY SILVA ". POP SINGERS DON'T HAVE THE MENTAL WEIGHT OF THE VOICE CATEGORY THAT BECAUSE YOU'RE A TENOR YOU HAVE TO SING A HIGH C5 !! BESIDES, SOPRANOS THINK THE TENOR VOICE IS A DISEASE !! THEY COULD HAVE SOMETHING THERE, MAYBE A SUICIDAL MENTAL DISEASE OR IT COULD BE A LITTLE ENVY. HAS THERE EVER BEEN " QUEEN OF THE HIGH C ? " AND WHO WOULD CARE ANYWAY !! DON'T FORGET, THE TENOR VOICE ALSO HAS A CERTAIN LIGHTNESS AND BRIGHT TIMBRAL QUALITY AND THE TESSITURA TO BE ABLE TO SING THROUGH THE PASSAGGIO WITH EASE MAESTRO E.HERBERT-CAESARI CONCEPT " ALZARE, RITIRARSI, E ARROTONDARE LA VOCALE " BEST WISHES AND STAY SAFE, MR. SILVA
@@JardaZouhar All great singers are impressive. It's how you sing, not the voice type. I'd vouch for a Cornell Macneil high Ab any day of the week and twice on Sunday.
That's brilliant! I know you are only joking around but if you really consider (once) to do a Fachwechsel you should speak to Michael Spyres. He started as a Baritone and went to the other extreme. In my opinion all you need to change is the propotion of voix mix and implement it a bit then you would hit the High C with no problems. Ramon Vinay is probably the best example in changing Fach - from Baritone to Tenor then back to Baritone and ended as Bass
I've been working on Che Gelida Manina recently and even as a tenor, the high notes are tough for me. It's sometimes hard getting into the high note, but once I'm in, I work it for all it's worth. Lol
"tenors need high C" - Heldentenor don't ... Dramatic rarely. You do sound like a heavier tenor. A Lyric/spinto role not working for you is no surprise (although you also just might have a not enough developed top, esp. due to having settled for lyric baritone). If the tessitura is too high a while before you try the high note, it will also set you up for it not working, tensing you up before. Listen to some Giacomini and compare the apparent heft of voice. Although later he tended to overdarken a bit, you get the idea. I also notice you *spread the mouth wide* when going higher - that will likely get your larynx stuck too high or/and cause other blockages. I.e. this is working against getting the high note by itself. That's what I was taught and experienced myself. Mouth does need to open more on high notes, but vertically, not horizontically, i.e. jaw drops down and back (not forward). Btw., I know a full baritone (not lyric) who sang a high C along Pavarotti in a tenor aria for me just for giggles, and it made Pavarotti look pale in comparison. That doesn't make him a tenor. He sounds like Cappuccilli, with all the punch in the upper register, no faked darkness. Things aren't that simple :-D
@@davida6919 No MOST. drammatico or lyric. Even tenors with otherwise good high notes. Even Pavarotti wowed the crowds when young but after about age 35 not as much. Sure, "C" in the studio but "B" on the stage. Di Quella Pira is also famous for this treatment. This of course does not include cases of "going for the gusto" during a live performance and interpolating a high C or using the "High Option" of an aria if the tenor feels like he's having a good night and want to show off a little. "Ti voglio ardente d'amore" in Turandot or the third "amor'" end of Boheme act I as two examples.
Great voice and singing. It’s a misconception that vocal fach is about range however. It’s not, it’s about weight and colour of the voice. A tenor is a tenor irrespective of if he never hits a high C and some baritones can hit high Cs
More specifically it's about where the passaggio is in the singer's voice. A singer cannot fake the color change of the passaggio. And composers--Verdi especially-- wrote for certain 'fach' types for dramatic emphasis; for that marvelous blooming effect of specific notes in the scale. Casting the wrong type of tenor in the title role in Idomeneo, to use one example, makes for a very unsatisfying lyric drama.
@@KajiVocals "In the House" "live" one will hear the "turning over" of the voice at requisite place in the musical scale or not, and that will expose whether or not the role was satisfactorily cast.
so you think that because you cant hit a high c with your current technique you are not a tenor. bullpucky. go watch jussi paul and his falsetto vids. its all out there bud. you got this.
if i am not wrong: Michael Spyres started his career as baritone. I heard him singing an deep a-flat, some basses would get jealous. The switch can be found with patience. But in daily opera life a baritone is more a tenor with a dark voice than a kind of bass
I would argue that Michael Spyres is really more of a fluke voice. He certainly can sing the high notes, and very high they are. But how beautiful is the sound? And also, does his voice carry? I've no doubt that Lucas' voice carries to the last balcony. My hunch is, Spyers voice does not have nearly that much carrying power. Lucas is a true barn burner baritone. I think though, if he had the desire, he could take on a higher repertoire and incorporate certain tenor roles in his repertoire. Indeed, that is his prerogative. I read a comment once by the late great Dietrich Fischer-Dieskau in which he said that yes, he could retrain his voice to sing tenor and had, in fact, been approached about doing so. His answer was simple, "Why? I'm comfortable singing the baritone repertoire and I know it. Why change?" By the way, Fischer-Dieskau's recording of Iago on the complete recording of OTELLO with James McCracken and Gwyneth Jones is one of the great readings of the part. Rather than go for the campy overblown histrionics one hears so often, Fischer-Dieskau allows Verdi's music to create the role of Iago. Notice, at the end of the "Credo" there's no ridiculously overblown laugh. Thank God! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9DeYW0imJqY.html
Except the difference is that a baritone that is a tenor with a darker voice than a bass does not sustain as much of a high tessitura as a real tenor can. There are real tenors that have darker voices than a baritone, in which most of them usually are dramatic tenors and heldentenors. Yes many of them began as baritones. Another difference is in the squillo and passaggio areas. Both high baritones and dramatic tenors have similar passaggi around C4 - F4 but the high baritones focus on B3 - E4 repertoire mixed with C4 - F4 repertoire while dramatic tenors focus on a mix of C4 - F4 and C#4 - F#4 repertoire with abilities to visit the D4 - G4 repertoire.
Bradley Monroe It sometimes depends on vowel. Some change registers on E4 is it is 'EE' vowel but stay open at "A" till F#4, but covering 'OH' at F4 and so on.
Lucas! Big fan. You’re obviously not a tenor, even though countless people in these comments seem to be know-it-alls. However, you’re a kickass baritone! Thanks for sharing your gift so much! As a young baritone, things you say resonate with me, and help me discover my own voice. Thank you!
It's no wonder he can't sing a high C with all that spreading and nasal constriction he's doing up to it. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SFL-HhPXMZM.html
@@lionsmaine1238 as some one with an all-too-similar sounding baritone voice ... he just can't access his head voice very well. I start my practice singing highest comfortable notes I go down to C3 or D3 skipping over most things inbetween. It teaches me to be relaxed with high notes... the tricky bit is inbetween... but the high notes gotta be sung with as much ease as your speaking voice - it is totally different from mixed voice. B4 to B2 should be a very easy jump. B2 to B4 can be a very difficult jump. I make sure to start with high notes before the pedagogy ruins the natural singing ability with its scales and things. Scales I do after to work on intonation only - the agility and ability to sing is done without those but with natural intervals which the voice prefers. Then I climb up with a bit of energy to see how high it is willing to go for now. Then I go high and down to just below my second break and first break as well as I begin to work in my vowels on a key to help this process. Then I work on the chest voice quality and then I attempt to bridge the two by adjusting the notes from say A3 to F4 one by one using every method I know (intervals of every size as well as approaching from high and low as well as singing all the different sounds and trilling a lot) The mix should sound like the high notes (if total range is your goal) - if you figure out your mix voice darkness/lightness without comparing to the highest notes you may land yourself in a position from which you are unable to sing the high notes.
there are people who sound like you who retrain to be able to sing high c all the time. If you can hit B... you can hit c. it takes time to grow that note. Check out Jussi Paul.
The first time I hit that high C, it was after a good gym workout. I noticed that reach is much more attainable after a workout (not certain why...maybe good blood flow going?), and where I can "come down" onto the note rather than having to "reach up" to it. Btw, you have a nice vibrato!
A great tenor performing with a great baritone...I wonder if they recorded these things in one take... ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-BaBB5sIvQk4.htmlfeature=shared
