Any mentor teaches humming, run away immediately..

It's not good to try and identify your voice type when you're just beginning. You can't know your biological voice type until you have a certain technical development

Ivailo Ivanoff good or bad?

not so good

caprino vibrato a.k.a "goat-like"

are you kidding? his vibrato is aweful.

AJ Muzik see my reply to timliu above

Chill. It’s a class.

:) It was just a masterclass, I never met him before

tenellifranco kzfaq.info/get/bejne/nrKBe5V6vbnGop8.html

Singers like Brownlee and florez sing in a much "headier" voice, and don't sing with the full power of the chest compared to older singers. This is what is generally taught in universities today, and both Brownlee and Florez studied in american universities. If you listen to old tenors of the past (Caruso, Gigli, Corelli, etc.) you'll hear that their voice is built off of the chest voice and they have a distinct ring to their sound. Some say the way singers are taught today is flatout incorrect, others say its just a stylistic difference. I prefer the classic chiaroscuro sound, but whatever you prefer is up to you.

The difference is singers like brownlee and Florez have technical issues of their own...caprino, tiny voices, artificially making their sound smaller than it is to try and add grace to their voice because their voice is out of balance. Listen to Schipa. He had a naturally smaller voice than both of them, yet has a MUCH bigger singing voice with MUCH MUCH MUCH superior resonance and projection like a laser beam.

@Alf Zay No, they came from the same school of singing, especially Gigli and Caruso. They all have their own variations, tricks that they used and way of explaining their technique, but the foundation is the same. They just had different size voices and a different color to their voices. Gigli and Caruso for examples sound very similar, Gigli's voice just wasn't as big and dark as Caruso's was, but that dosen't mean the technique was all that different. Caruso was also obsessed with breathing and developed enormous breathing power which has an effect on the color of the voice and impact on how far the larynx lower. Earlier on his, voice was not so dark. Corelli had a mixture of influence from people like Melocchi and Lauri Volpi but it all pretty much leads to the same Italian chiaro scuro way of singing which is highly dependant on diaphragmatic support combined with the clear and resonant diction of the Italian language which is formed in that "u" vowel position. I'm not really sure what all this talk of chest tones and head tones etc are, at the end of the day the voice shouldn't be pushed in to either one of those areas. There is no voice in the chest or in the head, it's in the throat. The air and the pronunciation of vowels do the rest of the work to get the voice up in to the mask so that it resonates out and is squillante.

@Alf Zay Yes I agree, Caruso started as a very unpromising singer and even in to his late 20's was still struggling with his high notes. What I'm saying though, is that the eventual richness and size of his voice that was later produced is a result of his obsession with breathing. Gigli had a smaller voice, but their techniques, the way in which they produced their sound were not all that different. Verismo is a style, it is not a technique. Caruso had a larger and darker voice, so was more suited for that style of singing, especially in his later years. Gigli did not have the type of voice suited to those roles, although he did do things like Aida and Pagliacci etc. Again though, that doesn't mean they produced their sounds that differently form one another. When I listen to Gigli, I hear lighter Caruso. How would you describe the difference in the way the sang technically?

@Alf Zay Yes, belcanto isn't a technique either it's a style of singing. These have nothing to do with how the voice is produced. Again, all this talk of head tones etc really dosen't make any sense. You never use the head (or the chest). I think what you mean is Caruso engaged his diaphragm a lot more than Gigli, which is probably correct, firstly because his breathing muscles were probably much stronger due to his obsession with breathing, and secondly because he sang music that required more use of the diaphragm. But that is really a stylistic thing, still has nothing to do with how they produce their sound. Gigli was famous for his softer singing, which he even explained was not necessary to use the full force of the diaphragm for, that dosen't mean he couldn't sing those same phrases in full voice with the full function of his diaphragm, it was a stylistic choice that he made. Caruso also sang beautifully soft. Listen to him sing una furtive Lagrima and then listen to Gigli, apart from a better quality recording and a voice that isn't as rich in color, they arn't all that different. Tell me what the difference is?

That helps a lot man. Thanks for the explanation!

When you sing with true nasality your soft palate lowers which is bad in classical singing technique to sing classically the nasal passages should be blocked by your raised soft palate.

Because it's not resonant. In normal balanced speaking resonance, you naturally have airflow from your mouth and nose for appropriate consonants that require more nasality such as n, m, ng etc. when we speak in a normal balanced speaking voice this balance of airflow is natural, but this is not mouth or nose RESONANCE. We don't RESONATE sound in the nose in normal speech, which leads to the next point: The majority of resonance of sound is in the 3 parts of the pharynx and the vocal tract itself. The upper most part of the pharynx is the nasopharynx, or pharynx behind the nose. So, sound is not resonated in the nose but rather in the pharynx. You may look up images of the pharynx online. It's impossible to resonate the sound in the nose without heavy constriction of the voice, and the nose itself how it is shaped is not a good resonator for the voice. The result is resonating the sound in the nose, as the pupil demonstrates gets both choked, poorly resonated with a weak blend of harmonics that are bright but also not intense enough to cut, and an unattractive sound. "Mask resonance" is also something that needs clarification. There is a false and true mask resonance. The resonance I described above of the pharynx is true mask resonance, and when done correctly will not have a sensation of the voice being placed anywhere. As in, you won't feel it being placed anywhere or you won't feel symptomatic buzzing in the face, because all of the air is resonated and turned into sound that projects outward. The false mask occurs when the singer constricts or tightens some part of the vocal mechanism that leads the air to be trapped inside the face, creating a sensation of buzzing in the face. How the vocal mechanism is constricted usually does boost some higher frequencies which does give the voice some cut, but in the process also constricts the voice and creates metallic hard sound and also noise that kills some of your beautiful overtones and also you lose the openness and freedom of the sound. It typically yields either a caprino or wobble as well. Kraus has this technique, and you hear a slight wobble even in his youth and prime, and the sound is slightly trapped and not as free; you hear the sound is trapped a bit in the face and doesn't project as much outward freely. It is stuffy, as if he has a cold. The optimal method of boosting the higher frequencies involve modifying the vocal tract in ways that do not attempt to place the air anywhere nor constrict the voice with tension or excess muscular engagement. Two of the means I know are singing on an ee vowel, and closing the aryepiglottic sphincter (which to an extent makes the voice smaller and more focused like a laser, but this is why opera sings too with low larynx, to counterbalance this, as a low larynx increased lower pharyngeal resonance and size of vocal tract which adds darkness and size to the voice. In optimal resonance, the voice is not placed anywhere. At least, one does not ever get the feeling of the voice buzzing or resonating anywhere. However, a bel canto mental trick is imagining resonating from behind the eyes. Don't ask me why it works, but once you master the feeling of the invisible voice, imagine then resonating from behind the eyes and you will gain more color of the upper harmonics If you are a keen thinker, you may then observe that highest level operatic singing is quite like normal talking. When we speak, we do not place the sound anywhere, and we do not feel our voice if we are speaking with healthy technique. We might feel our voice in our vocal cords- but when we learn to support the voice, this feeling vanishes, and we are left with only the subtle sensations of modification to the vocal tract itself for optimum resonance. But the actual feeling of vibration or buzzing or resonating anywhere in the body vanishes. The voice is invisible. We sing as we speak is a bel canto truth. Except in opera we sing with intense air pressure at all times, a modified vocal tract, and a low larynx. Which brings me to my last point. Guru tenelli is a fantastic singer, however he also pulls the larynx down too much in an artificial manner. There's another bel canto truth that says, do not move it unless the breath moves it (this applies to everything except the subtle modifications to the vocal tract). With a certain method of inhale, the larynx naturally will lower quite a lot without needing to pull it down. If the singer pulls it down artificially, it naturally engages the swallow muscles underneath the chin, which should not tense up at all, as it obviously adds tension to the voice and will add, as Pavarotti said, a bit of a mucous kind of sound. The throat, tongue, lower jaw, and muscles under the chin should all feel invisible, except for the subtle modifications to the vocal tract that when done correct will not add tension, but rather boost incredibly the harmonics of the voice for apparently up to 600% increase in perceived volume

@@stone8193 where have you got these precious knowledge? Your explanation is perfect. But I would like to add one thing which is when we align our posture in a proper form, the larynx naturally gets lower and fixed. We can do this simply by pulling our chin and head backward.

Come? COME??? MIERDA... Aiutami

А как надо петь? Есть какая-то литература?

@@Monnarchmonnarchy Морозов - Искусство резонансного пения.