Curious. You mention Gigli and Lauri-Volpe as examples of nuanced singing. I always thought Lauri-Volpe was one of the original low larynx proponent. I cant imagine making a choice between singin softly , having a wide emotional pallette at your disposal, and Volume ( capital V). Del Monaco , toward the end, was limited to Forte all the way to FF. But that was what they paid him for.
@HawkEye402 ай бұрын
This is one of the BEST lessons I've ever seen in order to achieve high notes. Period... Hundreds of videos, lots of teachers, but.. I've never found so much truth in such a short amount of time. Brilliant
@RicardoMarlowFlamenco2 ай бұрын
1:35…pretty much no vocal coach online has ever made this sound that I have come across….and most likely cuz most don’t actually know how to do that.
2 ай бұрын
That the air is envisioned almost like a vapour. That single comment is gold.
@errol-ih4jy2 ай бұрын
great teacher, nice one Jack.
@RicardoMarlowFlamenco2 ай бұрын
The key to the subjective concept is at 6:06….you see, these frustrated “rock pop” singers have learned to drop weight via speaking bobbing larynx, because that is the way we all vocalize. Yodeling ee and oo flipped falseto is very natural. Reinforcing the falseto that way is easier to get an intuition for. To do this with the “yawn” position is very counter intuitive with the tendency to “grunt” as you have stated in previous videos… hitting the ceiling in the passagio range… this is simply because we don’t go around vocalizing that way all day long. Perhaps there is a way to develop that intuition for those people who have already been singing “wrong” with speaking position? That would be an end to a lot of frustration for students and teachers.
@Christofellis882 ай бұрын
Is it the same for alto and soprano voices?
@claudiobrunelli82322 ай бұрын
Grazie maestro, this very informative. Explains a lot of intentions that ww need to focus when we study. There's another pressure though: the psychological one. Going to high register i feel such a sense of PANIC (insecurity or just lack of air?) to which instinctively i react with pushing as if "forcing the air out" (not that I mean to). Is this any normal? Disastrous result. And The opposite of the GEBTLENESS you always invoke. How do we focus on the BEAM? We can't Direct it to the mask or up, or to the back (or should we?). How could we (I) win that panic feeling and how would we control the beam? Any comment and help is highly praised Grazie mille
@PascalCapiomont2 ай бұрын
Merci Maestro
@danielkavanagh99822 ай бұрын
He's changing the vowel sound from ah to uh.... Most teachers never tell you about the modification of the vowel sound... Makes it easier to hit the higher notes lol
@Celatra2 ай бұрын
the modification comes naturally once you have developed a perfect transition past the passagio.
@RicardoMarlowFlamenco2 ай бұрын
It is more than that…at 2:35 he makes it clear “uh” can be wrong as well. It is the mechanism that is important, NOT the vowel.
@user-op3ik2ns7u2 ай бұрын
I have hard time to sing high note and also my breath do not last long.
@joannecuomo13122 ай бұрын
The best at explaining!
@SiggeSvahn2 ай бұрын
Wonderfully explained.
@ChrisVanLiew2 ай бұрын
Crazy how few views this has
@absdyna2 ай бұрын
The man is a treasure
@DallasChamberChoir2 ай бұрын
The best, most efficient tenor high note explanation and demonstration ever. Bravo 👏 and thank you! 🙏🏼
@Genetaylormusic2 ай бұрын
Gosh this brings me such joy to see a CLEAR explanation and demonstration that isn't just metaphors
@rickiekoala63132 ай бұрын
❤ thank you so much
@ilovedyouforsomanyreasons2 ай бұрын
This video got me remembering a video from Angelo Lo Forese, explaining exactly that. Brilliant!
@TB-ky7de2 ай бұрын
The person filming’s sigh at 2:47 was so resonant with me. I’m studying to become a professional singer and that sigh was an all encompassing: ‘Oh another thing I have to think about and fix’. I so felt that.
@Forever.and.a.day.singing2 ай бұрын
Jack, I took lessons from one of your students a few years back and I personally felt he was trying to get me to compress too much. I have since started studying with a different individual who has helped open up what I believe you are trying to get at in regards to keeping the muscles soft in the high notes. I cannot stress this enough. It comes from falsetto but there is such a fine line between the falsetto sustained squillo and the chesty compression that is heavy. It's literally like learning to whistle from the falsetto with lots of flow and then slowly lowering the larynx (tilt). The sound is literally placed above and back like Jack is saying and it will feel like there is a lot less presence than there actually is. Once trained by someone who knows what they are doing the sound will be a lot bigger when you hear the recording vs what you are feeling when you are singing.
How many teachers can actually sing WELL the stuff they so precisely teach? Not many! Jack is a treasure!
@Dynamofoe2 ай бұрын
This is awesome thank you! But as a long term rock singer I find it hard to get out of chest/throat into that head/nasal area… 50 years old and trying to change and get “lighter” - any thoughts/tips?
@Fulleman2 ай бұрын
When you sing - close nose with fingers- sound must not change, if its in nose - bad. Dont expect high notes to resonate in your body - they will be in front off you. Cords must touch very slightly... as butterfly wings. Air always go down when you sing, the more tone up - the more air down :)
@relaxingmusicbutterflycinema2 ай бұрын
❤❤❤❤
@Alex.M.T.S2 ай бұрын
Great info!
@user-kt6vz5gm3s2 ай бұрын
Thank you 👋
@SLAWAmusic2 ай бұрын
Amazing Jack! Thanks! ❤
@takitube742 ай бұрын
We have a saying among ourselves, collegues, that it is not enough to love your profession, you have to master it. Well, this gentleman knows how to do it, for sure, and equally important, that he has talent for teaching, too. Bravo!
@acasaization2 ай бұрын
Beautiful 😊
@SANDSILV2 ай бұрын
Excellent explanation ! Bravo !!!
@st142 ай бұрын
💥💥🔥
@evertonamorim232 ай бұрын
Never saw such a practical explanation! 🤌🤌
@freddygodoy07722 ай бұрын
Genial!!! gracias Maestro
2 ай бұрын
Great demonstration!
@johnthetenor2 ай бұрын
Excellent demonstration and insights here. 👑
@stevenburton79222 ай бұрын
Jack, thank you for sharing your wisdom. Your instruction is spot on! Your scaffolding reference paints a wonderful image of the correct and sustainable "open throat ". Beautiful instruction backed up by Beautiful vocal examples. Thank you for posting. Steven from Ohio.
@raphaelhudson3 ай бұрын
So does it follow that you think that the non-driving melocchi tenors, such as MDM, were using too little air and therefore bulking to folds? I was thinking about what you said in pt 1. At least my own studies and interactions with such people, I have found the difference isn't an intentional blocking or driving of air, but rather the Melocchi influenced singers tend to exaggerate the closeness of the phonation to maximum suction point on inspiration. This draws a very compressed fold to the compressed sound column which is being displaced and formed by the folds. So with such a breath set up, melocchi type phonation doesn't require any conscious blocking of the air because the folds naturally close to meet the kind of air they are interacting with. But that is a generalization as there were seemingly a number of different schools of melocchi type singing and it is hard to equivocate someone like Giacomini with Del Monaco for instance, or Cecchele. There is a greater parallel between someone like Melochior and MDM then there is between Giacomini and MDM. I probably have this tendency, hence why if I do the straw exercise, it is useless for me as my air actually decreases as I go up; although I am certainly not trying to actively glottalize the air. The confusing thing about singing of course is that there are some people who DO use quite a lot of air and are very loud and project well and resonantly. But I guess you can be loud like a releasing pressure tank; or loud like a the fog horn of a ship, and both are really loud and resonant, they just require different volume versus pressure balances.
@mosmediterraneanopera49052 ай бұрын
MDM, with his rock solid closure and muscularity would have required MORE breath pressure. His type of phonation has a higher pressure threshold for phonation. You can hear, if you listen carefully, that Mario Del Monaco's b-naturals, and sometimes even the b-flats have a little bit of air and fundamental harmonic in them (occasionally). The students from his brother's studio (Marcello Del Monaco) did not sing like Mario. MDM did NOT sing covered from bottom to top like Marcello's students did.
@errol-ih4jy3 ай бұрын
hi Jack, you have the look of Caruso, you sharing of your skills is well appreciated thanks again.
@sum41foreverown3 ай бұрын
Hey Jack! super cool vid, does this apply equally to baritones?
@absdyna3 ай бұрын
Finally a new Jack video!!
@bumpasaurusrex3 ай бұрын
I wish I could give this 500 👍🏽s
@jesperjee3 ай бұрын
How does the stomach work when doing this? I have always had a problem with support. I work on holding the ribs out but some claim we should feel like when doing a situp as we sing. Some say lean out. I am confused
@evankbrown15973 ай бұрын
Man, I love it so much when we get new Jack videos!!!!
Absolutely wonderful Jack! So much of what you are espousing reminds me of the wonderful E. Herbert Caesari and D.A. Clippinger in their speaking of the councious mind. I believe it was Caesari who said that, "...the concious mind is a fearful muddler. All the work of singing must be given over to the subconcious." Thanks again Jack!
Пікірлер
Wow! Brillant teacher!
Curious. You mention Gigli and Lauri-Volpe as examples of nuanced singing. I always thought Lauri-Volpe was one of the original low larynx proponent. I cant imagine making a choice between singin softly , having a wide emotional pallette at your disposal, and Volume ( capital V). Del Monaco , toward the end, was limited to Forte all the way to FF. But that was what they paid him for.
This is one of the BEST lessons I've ever seen in order to achieve high notes. Period... Hundreds of videos, lots of teachers, but.. I've never found so much truth in such a short amount of time. Brilliant
1:35…pretty much no vocal coach online has ever made this sound that I have come across….and most likely cuz most don’t actually know how to do that.
That the air is envisioned almost like a vapour. That single comment is gold.
great teacher, nice one Jack.
The key to the subjective concept is at 6:06….you see, these frustrated “rock pop” singers have learned to drop weight via speaking bobbing larynx, because that is the way we all vocalize. Yodeling ee and oo flipped falseto is very natural. Reinforcing the falseto that way is easier to get an intuition for. To do this with the “yawn” position is very counter intuitive with the tendency to “grunt” as you have stated in previous videos… hitting the ceiling in the passagio range… this is simply because we don’t go around vocalizing that way all day long. Perhaps there is a way to develop that intuition for those people who have already been singing “wrong” with speaking position? That would be an end to a lot of frustration for students and teachers.
Is it the same for alto and soprano voices?
Grazie maestro, this very informative. Explains a lot of intentions that ww need to focus when we study. There's another pressure though: the psychological one. Going to high register i feel such a sense of PANIC (insecurity or just lack of air?) to which instinctively i react with pushing as if "forcing the air out" (not that I mean to). Is this any normal? Disastrous result. And The opposite of the GEBTLENESS you always invoke. How do we focus on the BEAM? We can't Direct it to the mask or up, or to the back (or should we?). How could we (I) win that panic feeling and how would we control the beam? Any comment and help is highly praised Grazie mille
Merci Maestro
He's changing the vowel sound from ah to uh.... Most teachers never tell you about the modification of the vowel sound... Makes it easier to hit the higher notes lol
the modification comes naturally once you have developed a perfect transition past the passagio.
It is more than that…at 2:35 he makes it clear “uh” can be wrong as well. It is the mechanism that is important, NOT the vowel.
I have hard time to sing high note and also my breath do not last long.
The best at explaining!
Wonderfully explained.
Crazy how few views this has
The man is a treasure
The best, most efficient tenor high note explanation and demonstration ever. Bravo 👏 and thank you! 🙏🏼
Gosh this brings me such joy to see a CLEAR explanation and demonstration that isn't just metaphors
❤ thank you so much
This video got me remembering a video from Angelo Lo Forese, explaining exactly that. Brilliant!
The person filming’s sigh at 2:47 was so resonant with me. I’m studying to become a professional singer and that sigh was an all encompassing: ‘Oh another thing I have to think about and fix’. I so felt that.
Jack, I took lessons from one of your students a few years back and I personally felt he was trying to get me to compress too much. I have since started studying with a different individual who has helped open up what I believe you are trying to get at in regards to keeping the muscles soft in the high notes. I cannot stress this enough. It comes from falsetto but there is such a fine line between the falsetto sustained squillo and the chesty compression that is heavy. It's literally like learning to whistle from the falsetto with lots of flow and then slowly lowering the larynx (tilt). The sound is literally placed above and back like Jack is saying and it will feel like there is a lot less presence than there actually is. Once trained by someone who knows what they are doing the sound will be a lot bigger when you hear the recording vs what you are feeling when you are singing.
The best short for tenor voice ever 👏👏👏
Absolutely
GRAZIE Maestro!
How clear the treasure is❤❤❤
Thanks, totally perfect !!!!!!!!!!!!!!!!!!!!!!!!!!!!
How many teachers can actually sing WELL the stuff they so precisely teach? Not many! Jack is a treasure!
This is awesome thank you! But as a long term rock singer I find it hard to get out of chest/throat into that head/nasal area… 50 years old and trying to change and get “lighter” - any thoughts/tips?
When you sing - close nose with fingers- sound must not change, if its in nose - bad. Dont expect high notes to resonate in your body - they will be in front off you. Cords must touch very slightly... as butterfly wings. Air always go down when you sing, the more tone up - the more air down :)
❤❤❤❤
Great info!
Thank you 👋
Amazing Jack! Thanks! ❤
We have a saying among ourselves, collegues, that it is not enough to love your profession, you have to master it. Well, this gentleman knows how to do it, for sure, and equally important, that he has talent for teaching, too. Bravo!
Beautiful 😊
Excellent explanation ! Bravo !!!
💥💥🔥
Never saw such a practical explanation! 🤌🤌
Genial!!! gracias Maestro
Great demonstration!
Excellent demonstration and insights here. 👑
Jack, thank you for sharing your wisdom. Your instruction is spot on! Your scaffolding reference paints a wonderful image of the correct and sustainable "open throat ". Beautiful instruction backed up by Beautiful vocal examples. Thank you for posting. Steven from Ohio.
So does it follow that you think that the non-driving melocchi tenors, such as MDM, were using too little air and therefore bulking to folds? I was thinking about what you said in pt 1. At least my own studies and interactions with such people, I have found the difference isn't an intentional blocking or driving of air, but rather the Melocchi influenced singers tend to exaggerate the closeness of the phonation to maximum suction point on inspiration. This draws a very compressed fold to the compressed sound column which is being displaced and formed by the folds. So with such a breath set up, melocchi type phonation doesn't require any conscious blocking of the air because the folds naturally close to meet the kind of air they are interacting with. But that is a generalization as there were seemingly a number of different schools of melocchi type singing and it is hard to equivocate someone like Giacomini with Del Monaco for instance, or Cecchele. There is a greater parallel between someone like Melochior and MDM then there is between Giacomini and MDM. I probably have this tendency, hence why if I do the straw exercise, it is useless for me as my air actually decreases as I go up; although I am certainly not trying to actively glottalize the air. The confusing thing about singing of course is that there are some people who DO use quite a lot of air and are very loud and project well and resonantly. But I guess you can be loud like a releasing pressure tank; or loud like a the fog horn of a ship, and both are really loud and resonant, they just require different volume versus pressure balances.
MDM, with his rock solid closure and muscularity would have required MORE breath pressure. His type of phonation has a higher pressure threshold for phonation. You can hear, if you listen carefully, that Mario Del Monaco's b-naturals, and sometimes even the b-flats have a little bit of air and fundamental harmonic in them (occasionally). The students from his brother's studio (Marcello Del Monaco) did not sing like Mario. MDM did NOT sing covered from bottom to top like Marcello's students did.
hi Jack, you have the look of Caruso, you sharing of your skills is well appreciated thanks again.
Hey Jack! super cool vid, does this apply equally to baritones?
Finally a new Jack video!!
I wish I could give this 500 👍🏽s
How does the stomach work when doing this? I have always had a problem with support. I work on holding the ribs out but some claim we should feel like when doing a situp as we sing. Some say lean out. I am confused
Man, I love it so much when we get new Jack videos!!!!
Bravo!!!! Muchas gracias Maestro!!! totalmente acertado
Absolutely wonderful Jack! So much of what you are espousing reminds me of the wonderful E. Herbert Caesari and D.A. Clippinger in their speaking of the councious mind. I believe it was Caesari who said that, "...the concious mind is a fearful muddler. All the work of singing must be given over to the subconcious." Thanks again Jack!