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Hi. There is no up or down in singing. All pitches are produced at the larynx. The larynx stays relatively at the same position. Up and down is an illusion. This illusion becomes enhanced when we listen to what we think are changes of sensations or see notes change up and down on a sheet of music. If you think high, the larynx will go up with the thought. You cannot try to force things in the production of sound. The larynx just vibrates or hums the sound. The resonance is the result. Ignore the resonance and keep that lower vibration free and continuous. Give the larynx the space and freedom it needs. The resonance is a result of sound. It is already made. We focus on the vibration and the desired sound that we want to make. If you have to move positions, you are not doing that. The space, tongue and consonant articulators move and adjust. Let them do it. You don't have to give them attention. Your attention is on creating the vibratory tone. When you sing there is a condition. All you have to do is maintain that sound condition. Keep it going. Keep it going. Don't add pressure or force for changes. If the changes in vibration are free the changes of pitch will not be felt. As you ascend to a high note, use the previous good notes to get to that note. Sliding scoop etc. are all compensation actions. Singing should be efficient. Jumping to a high note is different to singing up the scale note by note. Practice sliding up and down the scale with a vowel and take note of the natural progression. This will help you find what you want. If you think lower. Don't push lower. Just notice the lower vibrations at the larynx. Just follow the vibration lower at the floor of the voice. As you ascend you keep it going. Higher notes will not feel so high.

@@baoanhnguyen9186 Sliding, scooping, slurring, are all mini-styles. For instance, sliding up to the note is popular with crooners. Just listen to anybody and you'll hear it. Try Sinatra or Dean Martin. But with other kinds of music--like opera--it's just sloppy and unnatural singing. Be able to do those things. But at the same time generally avoid them.

People would call him a "Male soprano". No different from a Counter tenor for me. Thank you, David!

Thanks to YOU, @@RadamesAida2Operalovers:-)

@@RadamesAida2OperaloversThe reason for that is that his natural voice sat in the tessitura of a mezzo-soprano but yes it is essentially just a very high countertenor.

Very kind of you, my friend. I always value your opinion. You always have good judgement. I will try to post more often. I have a huge list of video ideas. Not short of that. They just take a lot of time to put together and edit. It gets a little overwhelming. It is easy to say things. But there are consequences to the things we say. I want to help not to harm and confuse. I say things multiple times in many ways to students and they still struggle. At least I have provided good explanations with audio examples. I think this is the best information on Falsetto anywhere. Online or in books. I missed a couple of little things. Intentionally. I think this is a fairly comprehensive description of Falsetto. I should have sung the falsetto myself. The student did an adequate job anyway. I'm a little too shy. Lol. :P. Though, my students think I talk too much. Hahaha. Thank you for watching. I wish more people see the value in the information I have provided.

@@RadamesAida2Operalovers Undoubtedly, your postings have been a help in improving my voice.

If Radames posts it on his channel you can take it to the bank!

Thank You Lewis for your valued feedback.

I think a lot of young singers are off the right path. Knowing the right sounds. Listening to the great singers is the best first step. The problem with many younger people. They do not want to go through the hard work as needed. They try to get bits of information and put it together. It is the consistent long-term lessons and working that gets them there. The greatest of singers always worked. Always trained their voices to work better. I get disappointed with many students. I give them valuable information. I expect someone who wants to be a great singer to go away and bring it back perfected. Not many will do that. Only the pearls.

@@RadamesAida2Operalovers Yes, only the Pearls. You can often find me singing, humming, anywhere, anytime. No, I am not necessarily "happy," as they might presume. I am working! A great singer should at times appear to be just another pathological fool: singing, humming, rhythmatizing, in the strangest of places; knowing and becoming more intimate and confident with his voice and its capabilities.

Tricky question. What do you mean by bigger voice? Louder in volume? Better carrying power? More dramatic in quality? A lighter voice type can be as "loud" as a heavier one. Acoustics can give us impressions of things. Voices can behave differently in different venues and size of venues. Some professional singers will talk about the large size of a voice in a rehearsal room but on the stage the singer cannot be heard. Do you want a darker richer sound? brighter thinner one? For me it is important to aim for freedom and efficiency. Size and volume are subservient to good function. Breathing low probably has little effect on vocal size. It is the coordination of the breathing mechanism and function that produces good results. Some can do this without breathing low. Or filling the lungs up to capacity. The right action is more important than how much. Some people have larger instruments. Some smaller. If the voice is well supported and produced correctly the function and the resultant resonance will be produced better. Look at a violin, viola, and cello. They change in physical size. Each has its own characteristics. Each has their own volume. Each has the ability to be heard well. Could you give me a better idea what you are thinking of?

I love it! The General gives a masterful reply to the question. Then coyly at the end replies to his suitor, "Could you give me a better idea what you are thinking of?"

@@RadamesAida2Operalovers in my opinion, a big voice is a loud, rich timbre voice that can be heard everywhere. I love big operatic voices

It means you are hearing things. Thanks for the comment.

They would have a bigger stronger chest voice logically.

@@RadamesAida2Operalovers how is that logical? A mezzo's tessitura starts lower and goes into middle voice sooner than a soprano. But it also depends on the size of the mezzo voice. A lyric mezzo has very little chest voice, a dramatic mezzo much more.

@@RadamesAida2Operalovers here you can hear a dramatic mezzo and spinto soprano ua-cam.com/video/zhTE39rHEAk/v-deo.html

My email is in me about section. I can't post it here. UA-cam won't allow it.

radamesaida2@gmail.com

Your arguments are so convincing. I'll stop now and delete my channel. Thank you for the rare insight.

It is correct in relation to purity of sound. Nasal tones, Masky tones, Throaty tones are distortion of the resonation process due to constriction of the function or distortion of the vocal tract. Historically, these "wolf tones" as describe in the scientific literature are not desirable. You can watch my other videos on the topic. All put together in my playlist section under mask singing. I provide evidence supported by reference materials. As an ignorant person that is the best I can do. It is ignorant to say something and not support it with reasons why.

People tend to address singing in terms of resonance instead of in terms of creating a function. Resonance is a result of function. Playing with it produces limited results. I tend to teach the focus of creating through intention of sound ideals and ignoring the sound produced. Once we clap our hands, we have no influence on the sound. I get the student to focus on the source of vibration which includes pitch and vowel. The resonance takes care of itself when we correctly produce a vowel sound at a pitch and allow the physicality to correctly adjust to the conception. Everything will adjust to the smallest degree to accurately amplify the voice. The tuning will be accurate. Sensation of placement are not necessary. Only necessary for the human need to control. If we give the throat vertical space and allow this to change as needed the larynx will sit comfortably at a low position. Opening the ears and back of the jaw helps establish this position in an unforced manner. Corelli said, like a ball on water. If you push the larynx down it will want to push back. Singing like life is about finding balance and equilibrium. If we concentrate on sensations of resonances our thought is usually higher than the larynx. this will automatically cause the larynx to move upwards with the thought position. Our focus should be at the vibratory position of the larynx. The larynx will then not feel the need to rise. And should stabilize without any feeling of force or pressure. This is an internalizing action. It takes time to produce sound and vowel and isolate it to vibration. Forget about making sound anywhere else. But allow the sound to sit at the larynx. Forget about perceptions on how things should sound. We are cursed because our brain is higher up and our mouth and consonant articulators are also higher up above the larynx. Babies produce healthy stamina sounds because they do not use consonants. Their primal sounds are located at the larynx. The larynx is their true mouth. Ingolata and other noises are acts of constriction of the larynx and distortion of the vocal tract. Remember the larynx is independent of the head. It sits on the trachea part of the breathing apparatus. We do not have to feel it in the face and head. If we sing well our sensations may not be what we thought, they should or could be. That is why we should not let someone guide us that way. Chiaro or Scuro is not a position but a free efficient function with an open throat. Focusing on vibration instead of squillo is better. both are the same. But one can easily induce constriction and a high larynx. Whereas we can follow and maintain the creation of a free-flowing vibration which leads to greater freedom and efficiency. Thanks for your comment.

Very much. However, his singing instrument was amazing. I prefer others like Mattia Battistini.

This is a love duet from Andrea Chenier. This scene comes from RAI television recorded in 1956. Antonietta Stella as Magdalena. Also in the whole recording Giuseppe Taddei was Gerard. The whole opera with them you can find here in UA-cam.

Teachers of the past generally describe registers in terms of feelings of sensations. As they did not have the anatomical science to know what was happening functionally. Even though Garcia speaks something about a register as being a set of homogenous sounds of some sort. Past teachers generally thought of it as changes in sensations to denote register changes. As a singer ascends the scale they may feel sensations on the lower notes in the throat and chest areas. In the middle of the range, they feel it in the mouth oral pharynx area, and on the higher notes they feel it in the head. Hence the terms Chest, Middle, Head voice. Sensations are superficial and are not a good indicator for what is happening functionally. I just made a video on Falsetto. You can watch it and my video on chest voice to get a better idea. I should have them all together on a playlist called "Registers".

Kraus did have a good functioning voice. He assumed it was due to a specific action. He perpetuated that idea and spread misinformation. If the throat is open and free and the voice is supported, it is not a problem. If it is not. Then a singer will find it difficult to place the voice. The mask placement sound does nothing for function. it just distorts the tonal purity of the sound. You can hear as Kraus got older these idiosyncrasies that he promoted marred his voice further. I criticize him in this video. Sorry for the late reply. Sometimes UA-cam does not notify me of comments. ua-cam.com/video/HOthpaQ2zew/v-deo.html

Who gives YOU the authority to comment?