And yes, there are vibrations that singers feel. The issue is that if you feel the vibration a certain way, you might inadvertently assume that all singers should feel it the same way you do. That is why trying to "place" the voice in the body is an ineffective way to teach. Teaching a student how to develop muscles will be more helpful and then they can learn how they feel the vibrations in their own way!
Modern teaching has misinterpreted the term chiaroscuro for dark and bright, a balance of the two, when in reality, it refers to the voice having clarity/core AND depth, proper darkness because of the resonance in the throat. No nasality/brightness, no throaty, depressed larynx, etc.
EXACTLY! It can be very confusing when we all use the same/similar terms, but mean them in different ways. But that is a very succinct way of describing it!
If your breathing is correct (deep into the lower back), the larynx lowers and mask resonance happens automatically. The goal shouldn't be conscious "placement" of the voice. You should be establishing the conditions for optimal resonance on the inhale.
I completely agree about starting from the breath! Thanks for your comment! I still think that the concept of mask resonance is only peripherally helpful for many singers. Thinking of tone in the mask is basically a trick, and doesn't help the singer to know physiologically what is happening or what they can do. It is a sensation, and a sensation that all singers experience in different ways. If teachers aren't VERY CLEAR about how to achieve resonance, as opposed to how to feel resonance, singers can get very confused.
@@evan-dunn I've definitely used it with good success in the past. It's just all too easy to get sloppy and have the larynx start riding up. Anchoring the voice in the sternum has worked wonders for me, honestly.
Right?!?! 😭 Singing is SOOOOO hard to learn. But it can be a joyful process as well. One of self-discovery! I hope you are finding joy in your singing journey 🥰
Good video. However I think it is important to note that placement as a whole doesn't exactly exist. You can't 'place' the voice. Placement as a concept is a visual tool for students to understand complex ways of coordinating the voice easier. Mental trick in a sense.
Thanks for your comment. That is exactly right! Placement doesn't exist except as a mental tool. Mental tools (or tricks) can be helpful at times, but it can only be helpful in the long run if the student knows why it is helpful. Thanks for being here!
If any singer today sang like the last example I am 100% that people would say she is screaming, or belting. I’m not saying she is, I love that sound, it’s just not todays taste, I believe. Then I guess my question would be: with taste changing, should vocal technique be following it?
I think that is 100% a valid question. I think that audiences in an opera house would still go wild for Montserrat Caballe. Her voice would be so thrilling to listen to live. So I still think there is an audience for big, developed singing (at least I'm hoping so as I prepare to move to Europe myself!). However, if tastes change and people want smaller voices, we have to develop the voice EVEN more! It takes more technique, NOT LESS to sing smaller. I don't know that it's a wise decision. It is the main factor as to why we are losing dramatic voices. And that brings me back to believing that audiences still want to hear big voices. Wagner and Verdi operas are sell--outs around the world, but people have noticed that the voices aren't up to it. I think people would go nuts for true dramatic voices!
@@evan-dunn Would that depend on how people use the word metal. Singers with more dramatic voice are also often described as having metal in the voice. I can think of a few examples and I wouldn't say that these voices lacked depth.
Nice video! Yes I agree ! The correct way is in the middle. Free singing with loose lips, no tension, a slight smile, then the voice finds its correct place without having to mess too much with it. The tongue should be high in the back of the throat and the tip loosely down in front close to if not touching the bottom teeth ( which should really be unseen!) Those old singers sang on resonance and not force! Thank you again for your very wonderful videos. I wish i could meet you in person and hear your examples live because you even hear some things i might be missing.
“Kermit the frog” is probably the wrong approach employed to achieve the correct ideal. But might it not then be a useful teaching tool to get the student to where one wants him/her to be, even if it’s not the final destination? Regardless, I think Te Kanawa’s voice here is breathtakingly beautiful, even if it is totally wrong for Tosca.
That is a great question! A knödel introduces tension to the vocal mechanism and engages inefficient muscles that work in opposition to healthy vocal function for operatic singing. I have heard singers online show how they use nasality as a warm-up and then claim that they don't actually use nasality in performances, but they all still use nasality, even if they use less. I'm not going to say it couldn't be used in pedagogy, but I'm doubtful. And yes! It is possible to make pretty sounds even using inefficient muscles. But imagine how gorgeous the sound would be if it were clear! Also, the sound would carry better in the house making it even more mesmerizing for audience members! 👏
There is! It is essentially tongue tension, but I like to think of it as blending fake darkness with fake clarity. Some people tend to hear a knödel as very bright, others hear it as very dark. But the sound in the video is nasal!
Thanks for your comment! It is my job as a teacher to help my students hear the difference between all types of singers, even the most successful ones. All professional singers have gifted instruments, but they all have varying levels of technique. Some are better trained than others! That being said, all singers have lovely things to offer and I applaud them all for their bravery in taking the stage and sharing their artistic voices with us. So I am not afraid to critique any person's technique if it will help me or my students to discover more vocal freedom. And while I might have lost credibility in your eyes, there are many people who view me as more credible because of the technique I teach. Sorry my content wasn't helpful for you! I hope you have a lovely week!
@@pfeliks Thanks for the warning! Luckily I don't answer to anyone or pay anyone. So I'm pretty sure it's just a technique. It's just my technique is different than your preferred technique. I don't think that qualifies as a cult!
Have you heard Radvanosky much in the theater? The voice is enormous, and commands every dynamic to a shimmering pp. The sound itself is an acquired taste, and she does not have a firmly settled ‘voce di petto’, but currently she is the only singer I would travel to hear. Hearing voices in the theater is the only way to make really informed judgments.
Thanks for your comment! It is true that a singer can have many great qualities and still have other technical deficiencies. There are many voices with huge ranges, great mobility, ppp high notes, or that sound really pretty, but that doesn't mean that there aren't things to learn from them! Here is an article on the topic, I hope you find it interesting! www.evandunn.com/media/why-we-should-compare-singers-and-do-it-nicely
This is a wonderful channel that pursues a natural sound overall. The mouth, nasal cavity, and mask should all remain relaxed. I completely agree with this approach. However, I have some opinions about your description. Her voice (breath) is not directed to the face, and the facial muscles do not contract to bring the sound back to the correct position. This description is somewhat like the human concept of covering the sound. Pavarotti often said that the sound should not be above the vocal cords, that the vowel 'a' does not sound good when sung openly, so he suggested that students, like him, direct the sound to the nasal cavity and forehead to make it softer. This is fundamentally incorrect. My description is that, at the 0:33 mark, she does not use any facial muscles but mixes the sound below the vocal cords and then sends it out. This is the method advocated by Caruso. I watched your channel, and within less than a minute, I could see that you are very professional and knowledgeable. I admire you greatly. I suggest that today’s tenors should watch your channel because most of them are using incorrect singing methods.
it is sad to read "Some people still have giant careers, even with their technical issues" because technical issue will shorten their career. sigh. A lot of the theaters nowadays, MET in specific, want "Super Star" with strong social media presence rather than "opera singer", we will have less and less operas to go to
Totally, but I'm glad that people are still able to do what they love, even if they have technical issues! It's just that I want to avoid as many technical issues as I can for myself and my students.
Great question, you could equate it with depth if that resonates with you! Some people think of warmth as a sort of fake darkness like a sound with no core.
@@danielhanson3200 There are definitely different timbres for sure! Those are more natural to an individual. They say Tebaldi had a warmer voice than Callas, and both had a lot of balance and clarity, just different timbres. But EVERY voice should be clear and dark (warm???) regardless of their natural timbre.
@@evan-dunn Well, this is a quite popular aria to say the least. It's been recorded hundreds of times, and I could write a long list of sopranos who I have enjoyed listening to over the years. But since you ask, I'll give you a name: a voice I've always found particularly beautiful and moving is the voice of Slovak soprano Gabriela Benackova.
