She lost her voice because she eliminated her lower register like an idiot.
@lilybleue88887 күн бұрын
Thank you millions.I have been very confused about the correct singing. The mask style (like Rene Fleming) has been taught everywhere as the superior voice. With my own ears I make my own decision as I watch these videos. It is very helpful.
@haficammkft10 күн бұрын
This is pure beauty - Helen Traubel forever❤
@Chris-wm4th11 күн бұрын
What’s the duet at 11? And who’s the soprano
@dennisj.343912 күн бұрын
Always that beautiful "qualita la voce" Grande artista
@violin339417 күн бұрын
What is then the middle voice which Manuel García talks about?
@JR-kx8hy29 күн бұрын
I’m curious as to your thoughts on Kraus if mask singing is incorrect. He infamously preaches singing lighter to sing higher. What are your thoughts on this? Which is correct pharyngeal resonance or mask resonance how he uses it or both? Can they both be used at the same time?
@riccardo50001Ай бұрын
Who gives this person the authority To make such minute what he or she might call "criticisms"? They all sing beautifully with different timbers and that's what makes singers interesting, variety. So Eileen Farrell is being lipsinked with an attractive actress actually singing the aria? I thought she had never looked like that; beautiful singing though!
Beautiful rich sound not placed deep in the throat like the majority of bass voices. Always a pleasure to hear him sing.
@cantaremangiareАй бұрын
Nonsense in your Pavarotti/Sutherland duett. He himself said that he learned to sing by listening to and singing along her to her, he greatly admired her. And rightfully so. Her sound is wide and focused at the same time.
@RadamesAida2OperaloversАй бұрын
Not Sing. He said he Learned to breathe and support from her. Who cares about facts.
@alexanderzamora5930Ай бұрын
Wow! I would have shouted bravo. Some audiences don’t know a great tenor in front of them.
@unclelouie3828Ай бұрын
Heard him many times- unfukinbelievable.
@ravinecabАй бұрын
que c'est beau la musique et chantée de cette sorte. merci Clara
@samueljaramillo4221Ай бұрын
KZread trolls criticizing these amazing artists. They are up on those stages with amazing careers. Your at home sitting at your computer trolling. Get a life.
@user-xh2nk5gu3eАй бұрын
giacomini ingolata??? 🤦♂️🤦♂️🤦♂️🤦♂️
@jasonrobinson6561Ай бұрын
In each of these clips, the student gets noticeably worse as a result of the teacher’s instruction. It’s wild that Tebaldi clearly had no idea no idea how to help that young soprano.
@guntherschmadalla-il5lfАй бұрын
Das nie gesungen stimmt auf keinen fall...zb.im Troubadour Terzett 3.Akt live mit L.Gencer ist es eindeutig ein C ...und ausserdem ist es besser ein B zu singen als ein gequältes oder verunglücktes C...wie gesagt..Geschmackssache
@UMVELINQANGIАй бұрын
Truer words have never been spoken, alas. I love opera, but I no longer attend live performances because it's too painful to see and hear what has become of this once exalted art form. It is very sad. Now I cherish the recordings of my favorite artists of the past. At least we can honor their legacy that way. Thank God!
@jowr2000Ай бұрын
OMG the tenor singing nessun dorma. Painful to listen to, and I heard a “bravo” SMH
@johnwatson8323Ай бұрын
♥️♥️♥️🔥🔥🔥
@alexanderzamora59302 ай бұрын
I think you need to account the age of Tito Schipa vs Alfred Kraus. Alfred is already at a mature age. And also the venue. Alfred is performing in a concert while Tito is performing for a film probably. The variables are different. But maybe I am wrong.
@felicecapece74372 ай бұрын
IL PIÙ GRANDE TENORE ED ARTISTA AL MONDO!!!!!!!!!!
@petergraham86812 ай бұрын
Although ostensibly a basso cantante Pinza had a most sonorous low D (only Siepi, another basso cantante, could come close to matching him & ventured even a tone deeper on some occasions). Still the Pinza sonority was something unique on any level of dynamics, which one hears here.
@matthewquinn61722 ай бұрын
There is nothing natural about what we do. Whether it be creating more space in the back, lifting, resonating the sound forward or back, or allowing the larynx to release on the inhalation, etc, they are all micro-manipulations that lead to the sound we hope to have. Mask singing is just another term for directing the sound to vibrate in the sinus cavities where the bones are hard in an effort to produce more overtones. Whether you do it or not, classical and operatic singing is not a natural phenomenon.
@RadamesAida2Operalovers2 ай бұрын
Hello Matthew. Thank you for your comment. I disagree about the concept of "natural". It is important to keep yourself open to different concepts as it will greatly impact on how you perceive singing and its training. The term "natural" itself can be argued with. If someone does it. Is it not natural? What does natural actually mean? (Rhetorical) I will explain "natural" in relation to occurring without training. Because the way many people are taught, we get the impression that technique is something we have to do to achieve a result. Like the things you describe. It become a little too mechanical in creation. There is a loss of spontaneity and visceral connection. Personally, I think technique is learning to do things without conscious control. As with speaking. You decide what you want to say, and you say it. And what needs to be adjusted will happen in response to the desire to sing. Singing is thus going for the right sound. This is how the brain body response works overall. Just a quick example about, for example, lifting the soft palate. You can decide to try to manipulate the muscles to lift it. Or you can go for an appropriate vowel sound concept which will achieve a similar result. The first is a voluntary muscular manipulation with no subtle adjustment. The other adjusts appropriately for the desired sound. with the correct minute adjustments for the desired outcome. Considering there are a large number of muscles moving in a holistic way to achieve one resultant sound let alone continuous adjustments within a song. Some of these muscles are not voluntary muscles(i.e they cannot be directly controlled) Considering we can only control a few muscular actions at a time. A singer has no time to directly interfere with the process. Only with the desired result. Sing on stage, follow the conductor, act etc. There is no time for anything like that. Read Read Herbert Caesari's Book. "Tradition and Gigli." 1958. Pg 34. "The term, "Completely Natural Voice, needs explaining in some detail.... First of all, the natural is not consciously aware of any actual vocal adjustments, nor does he appear to want to know. Everything vocal just happens. he merely thinks of the words and tune and wills himself to sing, and that's that. If you lavish praise on his vocal efforts, he may not even look pleased, for the automatic mechanism is taken for granted. In all probability the natural doesn't know a note of music, and low or high pitch is all the same to him vocally speaking, for he is just a subconscious singing machine." I have experienced a number of Completely natural singers. There are many examples of the greatest singers being untrained. Just coached for roles. Titta Ruffo, Rosa Ponselle, Amelita Galli Curci, Luisa Tetrazzini etc. I wrote too much already. Watch my other videos on the nasal mask singing playlist. There are no true resonance int he sinus cavities or bones. Playing resonance as opposed to function is quite different in results. Resonance is a result of an action and cannot be controlled. Sensations are superficial and subjective. I hope this helps. I cannot post links. KZread does not allow it.
@AdorationTV2 ай бұрын
This is a great video with so much great information ‼️😎
@Mirabelliana2 ай бұрын
Verrett was phenomenal! Such open, round and resonant sound. Fantastic!
@SoyCantante2 ай бұрын
Clearly the mask singing arrives farther and it's no true that there is no mask singing on them they all use mask. Just the Horne voice is not so supported on her body as the other two, but technique is the same the only thing changing is what they do in the back of their moth and that involves more throath in those you consider best, that's why lower notes are fuller. Too much analysis for good singers that deserve to be heard as art.
@Tom-sw1pz2 ай бұрын
More videos please!!!!
@maria-ceciliapeon57762 ай бұрын
WHEN HE SINGS ... ALL MY FIBERS TREMBLE...
@maria-ceciliapeon57762 ай бұрын
❤❤❤
@jimbuxton21872 ай бұрын
Every vocalist should be required to see this video.
@jimbuxton21872 ай бұрын
Every vocalist should be required to see this video
@rosecroix89192 ай бұрын
Incredibile!❤
@jorgesumano29572 ай бұрын
Grabación muy limpia casi no se oyen los rasguños propios de grabaciones antiguas, seguramente en discos de 78 rpm. Gracias Gral. Radames por dejarnos apreciar a una de las grandes sopranos del pasado.
@marcelbureau27532 ай бұрын
Ms. Horne was certainly the QUEEN of gargling!!!
@samueljaramillo4221Ай бұрын
Respect. It’s called singing.
@mstrsims22 ай бұрын
Both at the top of their careers
@Dwight422 ай бұрын
I remember Marilyn Horne back in the early 60's when she was a presentable lyric soprano but, for me she became unlistenable as a mezzo/contralto. Her brother was my 5th grade teacher.
@Dwight422 ай бұрын
I heard Marilyn Horne back in the early 60' when she was a presentable lyric soprano but for me she became unlistenable as a mezzo/contralto. Her brother was my 5th grade teacher.
@saelind732 ай бұрын
In an interview with GBOPERA (Italian magazine) in 1975, Anita Cerquetti was asked: "What advice would you give to a young person who wanted to start a career? Who would you send him/her to study with, a singer or a music teacher?" Her reply says a lot about singers as teachers, at least in her opinion: «Never to a singer, nor a singing teacher, but to a music master: an old conductor with great experience." She also went on saying: "A young person who has a good voice must do the usual things: study, have a lot of patience and the luck of meeting a teacher who understands them. You know, it's difficult to give advice, because everyone has a different voice from the other; this is why I don't trust the singing teacher, because they set your voice in the same way for everyone. As what should be sung, in addition to the exercises, I can only talk about myself. I sang some songs by Tosti and Mozart, lots of Mozart! However, it's all subjective, you can't generalize; If this note suits me in one position, it could be that the same note suits another lady in another position. The voice, the sound depend on many components: the cavity of the palate, the opening of the mouth, the nasal cavity. It is not possible to use a single teaching method that applies to everyone."
@atizaries55122 ай бұрын
Well done!
@musicwithxuemeijiang84762 ай бұрын
pharyngeal voice
@jamescantorne37202 ай бұрын
It was correctly sing by Ebe Stignani, that is the best reference
@stevehinnenkamp56252 ай бұрын
An unattractive aria sung with such conviction my heart must break. What I wouldn't do to rescue her! The power of her anguished heart! A performance on my cell phone. Brava, diva!
@atizaries55122 ай бұрын
Unattractive. for you, does not mean unanimously for every opera loner@
@bradycall18892 ай бұрын
4:33 Wow that is awful vibrato.
@pipogalli3 ай бұрын
I like how a joyful face while singing is enough to deliver the message of music. No fidgeting, no unnecessary gesticulation. Just enjoying the vibrations of a perfectly trained voice.
@teresamogollon92423 ай бұрын
Maravillosa voz!!No necesita empujar con la garganta los graves,que le suenan naturales y potentes.Y ella ,bella y elegante.Grandiosa.
@raphaelhudson3 ай бұрын
The first one is really beautiful but it's his ordinary Bb. The second clip is a bit suss because when he finally gets to the note its suddenly incredibly easy and goo, with perfect vibrato, and there isnt much hint of his own personal tone. It doesnt sit well with his general tendency to straight tone and later barely be able to hold B naturals. There are a few large thesis dissertations written about his few recorded high C recordings and whether they are authentic. Some of them are clearly another singer subbing in. It is pointed out that most of them are him singing with a soprano where his voice is covered enough that a substitution was possible. This particular one sounds like it's early in the 50s. His voice was really at his vocal health peak then so it could be really him at his best
@heythere69833 ай бұрын
I had an opera singer who practiced bel canto teach me from scratch basically. And she always had me try And be more nasal or sing in the mask. When I got to my higher notes I knew I could hit them and I’d try the way I did on my own , and she would instantly stop me and say more forward. Super forward and super tall and narrow, it always made me crack and I couldn’t hit higher notes as easily or at all like that. I never understood why my range was more without her and then with her I was apparently always so wrong according to her. I now see It was her preference but she flat out told me I was doing things wrong and didn’t state it was a choice for tone. I thought it was to prior text my voice or something to that effect. I ended up with a shouty whiny voice. She also made me belt my way into everything. I only knew how to sing in a belt fashion. Mind you I wrote my own music and it’s contemporary I only went to her to learn to “properly” sing, not because I needed to learn to sing in an orchestra, she knew this too as I would sing modern rock songs at the end of our hour sessions though my voice was so tired I couldn’t hit the notes well at that point. I developed tinnitus and hypersensitivity to sound because of this ultra belty nasal brash tone. I’d prefer rice in my car for hours throughout the week, windows up and had never thought it would damage my ears. I lost about a decade of my life after that since I couldn’t really live life normally due to the concerns of most sounds, everything was too loud for my ears for a while. I don’t get it, she’s a good singer too, how in the hell did she did teach me so wrong ? My tone was bad and I couldn’t really sing on pitch on my own, I always sang over the song and vocalist . She said I could do a shoe on my own . Not true. I don’t get it. One thing tho I did grow my voice I was able to sing past c5 within 7 months. But my nasal quality was like imprinted into my tone, and anyone ever try writing a song from scratch when all you can do to hit notes is yell your way through them? I even had practiced SLS techniques (without realizing it) on my own and that’s also how I grew my range , then she’d say “you’ve been practicing!” Yes true I practiced but not her way . It was really frustrating. Teachers should teach how to sing daddy and then explain what’s just a tonal preference. It’s my choice of how I sound as a songwriter. All I want to do is be a good singer who can sing on pitch , have a good range and be safe , while be expressive, but if I get pigeon held to one approach and develop my muscles in that fashion then I’m stuck. It baffles me. Also I wish singing teachers would teach not in tiny closet sized rooms where the sound has nowhere to go and also there isn’t much reverb coming back so it’s hard to hear yourself aswell. Why can’t they teach in a living room or larger area? It seems many find the smallest room possible to rent or in their house and then blow Your eardrums our with their full opera voice and teach you to do the same as if ears aren’t gonna wear . Even guitarists as bad as they are know to lower the volume on their amplifiers. Yet I was taught to be on 11 at all times. Just be shouty and nasal I guess
Пікірлер
The greatest baritone, or just the loudest?
She lost her voice because she eliminated her lower register like an idiot.
Thank you millions.I have been very confused about the correct singing. The mask style (like Rene Fleming) has been taught everywhere as the superior voice. With my own ears I make my own decision as I watch these videos. It is very helpful.
This is pure beauty - Helen Traubel forever❤
What’s the duet at 11? And who’s the soprano
Always that beautiful "qualita la voce" Grande artista
What is then the middle voice which Manuel García talks about?
I’m curious as to your thoughts on Kraus if mask singing is incorrect. He infamously preaches singing lighter to sing higher. What are your thoughts on this? Which is correct pharyngeal resonance or mask resonance how he uses it or both? Can they both be used at the same time?
Who gives this person the authority To make such minute what he or she might call "criticisms"? They all sing beautifully with different timbers and that's what makes singers interesting, variety. So Eileen Farrell is being lipsinked with an attractive actress actually singing the aria? I thought she had never looked like that; beautiful singing though!
❤🎶🌹🌺📚🎨🌻🏵🍒🇻🇦✝️✝️🍋🇻🇦🌼💛🌸🌿🇦🇲💒🇦🇲🍒🏵🦁✒📃📚🎶🌻🧭🕊🇵🇸💐💮⛑🍒🏵🌿🌺🇲🇬💒🇲🇬🌺🌿💛🎨🧸🌍🕯🇻🇦💐🍋✝️🍋🇻🇦🌼💮💐⛑🌻🏵🍒🌿🙋♂️
Beautiful rich sound not placed deep in the throat like the majority of bass voices. Always a pleasure to hear him sing.
Nonsense in your Pavarotti/Sutherland duett. He himself said that he learned to sing by listening to and singing along her to her, he greatly admired her. And rightfully so. Her sound is wide and focused at the same time.
Not Sing. He said he Learned to breathe and support from her. Who cares about facts.
Wow! I would have shouted bravo. Some audiences don’t know a great tenor in front of them.
Heard him many times- unfukinbelievable.
que c'est beau la musique et chantée de cette sorte. merci Clara
KZread trolls criticizing these amazing artists. They are up on those stages with amazing careers. Your at home sitting at your computer trolling. Get a life.
giacomini ingolata??? 🤦♂️🤦♂️🤦♂️🤦♂️
In each of these clips, the student gets noticeably worse as a result of the teacher’s instruction. It’s wild that Tebaldi clearly had no idea no idea how to help that young soprano.
Das nie gesungen stimmt auf keinen fall...zb.im Troubadour Terzett 3.Akt live mit L.Gencer ist es eindeutig ein C ...und ausserdem ist es besser ein B zu singen als ein gequältes oder verunglücktes C...wie gesagt..Geschmackssache
Truer words have never been spoken, alas. I love opera, but I no longer attend live performances because it's too painful to see and hear what has become of this once exalted art form. It is very sad. Now I cherish the recordings of my favorite artists of the past. At least we can honor their legacy that way. Thank God!
OMG the tenor singing nessun dorma. Painful to listen to, and I heard a “bravo” SMH
♥️♥️♥️🔥🔥🔥
I think you need to account the age of Tito Schipa vs Alfred Kraus. Alfred is already at a mature age. And also the venue. Alfred is performing in a concert while Tito is performing for a film probably. The variables are different. But maybe I am wrong.
IL PIÙ GRANDE TENORE ED ARTISTA AL MONDO!!!!!!!!!!
Although ostensibly a basso cantante Pinza had a most sonorous low D (only Siepi, another basso cantante, could come close to matching him & ventured even a tone deeper on some occasions). Still the Pinza sonority was something unique on any level of dynamics, which one hears here.
There is nothing natural about what we do. Whether it be creating more space in the back, lifting, resonating the sound forward or back, or allowing the larynx to release on the inhalation, etc, they are all micro-manipulations that lead to the sound we hope to have. Mask singing is just another term for directing the sound to vibrate in the sinus cavities where the bones are hard in an effort to produce more overtones. Whether you do it or not, classical and operatic singing is not a natural phenomenon.
Hello Matthew. Thank you for your comment. I disagree about the concept of "natural". It is important to keep yourself open to different concepts as it will greatly impact on how you perceive singing and its training. The term "natural" itself can be argued with. If someone does it. Is it not natural? What does natural actually mean? (Rhetorical) I will explain "natural" in relation to occurring without training. Because the way many people are taught, we get the impression that technique is something we have to do to achieve a result. Like the things you describe. It become a little too mechanical in creation. There is a loss of spontaneity and visceral connection. Personally, I think technique is learning to do things without conscious control. As with speaking. You decide what you want to say, and you say it. And what needs to be adjusted will happen in response to the desire to sing. Singing is thus going for the right sound. This is how the brain body response works overall. Just a quick example about, for example, lifting the soft palate. You can decide to try to manipulate the muscles to lift it. Or you can go for an appropriate vowel sound concept which will achieve a similar result. The first is a voluntary muscular manipulation with no subtle adjustment. The other adjusts appropriately for the desired sound. with the correct minute adjustments for the desired outcome. Considering there are a large number of muscles moving in a holistic way to achieve one resultant sound let alone continuous adjustments within a song. Some of these muscles are not voluntary muscles(i.e they cannot be directly controlled) Considering we can only control a few muscular actions at a time. A singer has no time to directly interfere with the process. Only with the desired result. Sing on stage, follow the conductor, act etc. There is no time for anything like that. Read Read Herbert Caesari's Book. "Tradition and Gigli." 1958. Pg 34. "The term, "Completely Natural Voice, needs explaining in some detail.... First of all, the natural is not consciously aware of any actual vocal adjustments, nor does he appear to want to know. Everything vocal just happens. he merely thinks of the words and tune and wills himself to sing, and that's that. If you lavish praise on his vocal efforts, he may not even look pleased, for the automatic mechanism is taken for granted. In all probability the natural doesn't know a note of music, and low or high pitch is all the same to him vocally speaking, for he is just a subconscious singing machine." I have experienced a number of Completely natural singers. There are many examples of the greatest singers being untrained. Just coached for roles. Titta Ruffo, Rosa Ponselle, Amelita Galli Curci, Luisa Tetrazzini etc. I wrote too much already. Watch my other videos on the nasal mask singing playlist. There are no true resonance int he sinus cavities or bones. Playing resonance as opposed to function is quite different in results. Resonance is a result of an action and cannot be controlled. Sensations are superficial and subjective. I hope this helps. I cannot post links. KZread does not allow it.
This is a great video with so much great information ‼️😎
Verrett was phenomenal! Such open, round and resonant sound. Fantastic!
Clearly the mask singing arrives farther and it's no true that there is no mask singing on them they all use mask. Just the Horne voice is not so supported on her body as the other two, but technique is the same the only thing changing is what they do in the back of their moth and that involves more throath in those you consider best, that's why lower notes are fuller. Too much analysis for good singers that deserve to be heard as art.
More videos please!!!!
WHEN HE SINGS ... ALL MY FIBERS TREMBLE...
❤❤❤
Every vocalist should be required to see this video.
Every vocalist should be required to see this video
Incredibile!❤
Grabación muy limpia casi no se oyen los rasguños propios de grabaciones antiguas, seguramente en discos de 78 rpm. Gracias Gral. Radames por dejarnos apreciar a una de las grandes sopranos del pasado.
Ms. Horne was certainly the QUEEN of gargling!!!
Respect. It’s called singing.
Both at the top of their careers
I remember Marilyn Horne back in the early 60's when she was a presentable lyric soprano but, for me she became unlistenable as a mezzo/contralto. Her brother was my 5th grade teacher.
I heard Marilyn Horne back in the early 60' when she was a presentable lyric soprano but for me she became unlistenable as a mezzo/contralto. Her brother was my 5th grade teacher.
In an interview with GBOPERA (Italian magazine) in 1975, Anita Cerquetti was asked: "What advice would you give to a young person who wanted to start a career? Who would you send him/her to study with, a singer or a music teacher?" Her reply says a lot about singers as teachers, at least in her opinion: «Never to a singer, nor a singing teacher, but to a music master: an old conductor with great experience." She also went on saying: "A young person who has a good voice must do the usual things: study, have a lot of patience and the luck of meeting a teacher who understands them. You know, it's difficult to give advice, because everyone has a different voice from the other; this is why I don't trust the singing teacher, because they set your voice in the same way for everyone. As what should be sung, in addition to the exercises, I can only talk about myself. I sang some songs by Tosti and Mozart, lots of Mozart! However, it's all subjective, you can't generalize; If this note suits me in one position, it could be that the same note suits another lady in another position. The voice, the sound depend on many components: the cavity of the palate, the opening of the mouth, the nasal cavity. It is not possible to use a single teaching method that applies to everyone."
Well done!
pharyngeal voice
It was correctly sing by Ebe Stignani, that is the best reference
An unattractive aria sung with such conviction my heart must break. What I wouldn't do to rescue her! The power of her anguished heart! A performance on my cell phone. Brava, diva!
Unattractive. for you, does not mean unanimously for every opera loner@
4:33 Wow that is awful vibrato.
I like how a joyful face while singing is enough to deliver the message of music. No fidgeting, no unnecessary gesticulation. Just enjoying the vibrations of a perfectly trained voice.
Maravillosa voz!!No necesita empujar con la garganta los graves,que le suenan naturales y potentes.Y ella ,bella y elegante.Grandiosa.
The first one is really beautiful but it's his ordinary Bb. The second clip is a bit suss because when he finally gets to the note its suddenly incredibly easy and goo, with perfect vibrato, and there isnt much hint of his own personal tone. It doesnt sit well with his general tendency to straight tone and later barely be able to hold B naturals. There are a few large thesis dissertations written about his few recorded high C recordings and whether they are authentic. Some of them are clearly another singer subbing in. It is pointed out that most of them are him singing with a soprano where his voice is covered enough that a substitution was possible. This particular one sounds like it's early in the 50s. His voice was really at his vocal health peak then so it could be really him at his best
I had an opera singer who practiced bel canto teach me from scratch basically. And she always had me try And be more nasal or sing in the mask. When I got to my higher notes I knew I could hit them and I’d try the way I did on my own , and she would instantly stop me and say more forward. Super forward and super tall and narrow, it always made me crack and I couldn’t hit higher notes as easily or at all like that. I never understood why my range was more without her and then with her I was apparently always so wrong according to her. I now see It was her preference but she flat out told me I was doing things wrong and didn’t state it was a choice for tone. I thought it was to prior text my voice or something to that effect. I ended up with a shouty whiny voice. She also made me belt my way into everything. I only knew how to sing in a belt fashion. Mind you I wrote my own music and it’s contemporary I only went to her to learn to “properly” sing, not because I needed to learn to sing in an orchestra, she knew this too as I would sing modern rock songs at the end of our hour sessions though my voice was so tired I couldn’t hit the notes well at that point. I developed tinnitus and hypersensitivity to sound because of this ultra belty nasal brash tone. I’d prefer rice in my car for hours throughout the week, windows up and had never thought it would damage my ears. I lost about a decade of my life after that since I couldn’t really live life normally due to the concerns of most sounds, everything was too loud for my ears for a while. I don’t get it, she’s a good singer too, how in the hell did she did teach me so wrong ? My tone was bad and I couldn’t really sing on pitch on my own, I always sang over the song and vocalist . She said I could do a shoe on my own . Not true. I don’t get it. One thing tho I did grow my voice I was able to sing past c5 within 7 months. But my nasal quality was like imprinted into my tone, and anyone ever try writing a song from scratch when all you can do to hit notes is yell your way through them? I even had practiced SLS techniques (without realizing it) on my own and that’s also how I grew my range , then she’d say “you’ve been practicing!” Yes true I practiced but not her way . It was really frustrating. Teachers should teach how to sing daddy and then explain what’s just a tonal preference. It’s my choice of how I sound as a songwriter. All I want to do is be a good singer who can sing on pitch , have a good range and be safe , while be expressive, but if I get pigeon held to one approach and develop my muscles in that fashion then I’m stuck. It baffles me. Also I wish singing teachers would teach not in tiny closet sized rooms where the sound has nowhere to go and also there isn’t much reverb coming back so it’s hard to hear yourself aswell. Why can’t they teach in a living room or larger area? It seems many find the smallest room possible to rent or in their house and then blow Your eardrums our with their full opera voice and teach you to do the same as if ears aren’t gonna wear . Even guitarists as bad as they are know to lower the volume on their amplifiers. Yet I was taught to be on 11 at all times. Just be shouty and nasal I guess