LIVE: TENOR TALK - PART 1: Vocal Warmups, Exercises, Tips, & Technique
Join me at my dressing room for last week’s
LIVE: TENOR TALK - 30 min before the Premiere of Eugene Onegin.
I go through some Key points in my Morning routines, Vocal Warmups, Exercises, Tips, Vocal Technique, and my Overall Methodology, Observations, and Experiences thus far in my 10 years of Studying Voice and in my current full time International Performing Operatic Career!
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Thank you young man…your explanation of your approach to warm ups and other techniques…made a huge impression on me a “would be” older tenor…Never too old to learn right ? Bravo and best wishes for your career ahead 👏
Your voice is legitimately a bell that rings in the most noble castle. Brava !!!
18:59 this is probably the most brilliant analogy of what it’s like singing as a tenor that I’ve ever heard especially as it pertains to the Passagio and the difficulty of singing through a phrase which spans multiple registers while maintaining the aural illusion of Singing with “one voice” (obviously it is just one voice in the literal sense but I’m sure you take my meaning) while navigating the physical mechanics of finding and “shifting gears”, ie, determining how and where to shift the placement and registers of The Voice such that while You the singer may be aware of your register shifts the listener only hears a single voice singing through the range smoothly and deftly maneuvering through the intricacies of the various registration shifts without giving away any sign of shifting gears. I appreciate this analogy because after having to learn how to drive a manual car, it was impressed upon me that the smoothness Of the gear shifts requires finesse and a sense of the “feel” of the transmission rather than mere Intellectual understanding alone. And I spent much time perfecting driving a manual transmission with the same finesse and deftness one would expect from driving an automatic transmission. As I am still learning to sing I find some of the greatest difficulties lie for me in not just navigating the registration shifts but first and foremost finding how to shift through the Primo Passagio, and then even after I have found that registration how to get the voice to automatically recreate the registration shift cuz otherwise my voice can easily “stall out” ie I will have lost my head voice and therefore lost the ability to mix varying degrees of my chest and head voice altogether. Then I have to go back and find it again. I was wondering if you could speak to this issue wherein you may have found the best placements for shifting through your Prima Passagio in a warm-up or an exercise, but then seem to lose it altogether when you are singing an actual phrase of a piece of music. I find one of the greatest difficulties I have is being able to re-create in an actual piece of music the same ease with which I may sing an exercise. Like I will sing through the Primo Passagio up to a C5 on a major scale on all of my vowels with no problem, sometimes belting or sometimes mixing chest and head, but in either case when I am singing a piece of music, it’s almost as if I could never have sung the same notes that I sang easily in the exercises or warm-ups. It’s like when I go to a song, everything that I was able to do with my voice in an exercise disappears. Does that make sense? How do I take my ability to sing an exercise or a warm-up and apply to the actual song and still maintain intelligible diction, phrasing etc. I should say I am speaking from the point of view of singing CCM and not opera, and while not all of the skill sets necessary for opera are applicable to CCM, I do think that some of them are and this I believe is one of them. Sorry for any typos or confusion with wording as I am doing talk to text and sometimes it’s not correct. Thank you for your videos, and I love to hear you sing.
Very informative video!Thank you! Its very nice to hear professional opera singer!
Another tenor coming from bass/baritone days. Would really appreciate a video sometime on making this transition. (Finding freedom in voice, how to integrate falsetto/head and not push chest up, etc.). It has been a struggle to feel and understand how to transition upwards between chest and head voice. Books like Anthony Frisell and Herbert-Caesari on “Pharyngeal Voice” make sense, but how to connect the falsetto/head to a legit voice is foreign! Appreciate your videos!
Bravo Jose! Wonderful technique! Love your tone.
Thanks for sharing!
The steam shower is the MVP. That and turmeric are my cure-alls.
Love it! Thanks for sharing!
Very helpful!
FYI, be careful with massage gun on your neck. Recently watched a video and learned the vibration on your main artery can create bubbles and prevent proper blood flow to the brain and cause a stroke! Best to stick to shoulders and maybe base of the neck with the gun.
I'm not a beginner, I also stopped taking proffesional classess recently (several reasons). I'm at this stage where I start trusting myself , my instincts and what singing feels like in my body. I have my fundations, therefore I believe I won't harm myself. Thank you! The way you explain things really resonates with me!
I use several vocal warmup tutorials on KZhead and hardly any cover exercises specifically on the operatic voice. I have asked several vocal KZheadrs about this and they told me there is no difference, that all vocal warmup and exercises help and develop all singers. That there aren't any specific vocal exercises or warmups to opera singers. Is that true? Or can you recommend an online vocal coach who teaches targeted vocal exercises warmups for the tenor operatic voice?
I don’t know who told you that but to develop and refine the voice to sing operatically you do need certain exercises that will help build the coordination required to phonate in the operatic style. I would also say that warming up the voice and doing vocal exercises are also two different things. Just like when you go to a gym you may warm up the body by stretching or doing some light cardio or light weight lifting to get the body ready for the exercise or physical event that is coming. Where as the actual exercise would be done with the intention to, not just to get the body warmed up, but for actual training in a specific muscle or skill (if doing sports or some athletic event) in order to strengthen and build said muscle or skill. The voice is the same way. You need specific exercises to help strengthen and reinforce with repetition certain coordination required to sing operatically in a healthy way. As far as recommending someone, I teach in my spare time and I always love the content and information Jack Livigni has to say. He also has a channel, look up his content it’s great stuff if you have a certain grasp of vocal technicalities. 👍 best of luck!!!
@@Tenor_Simerilla kzhead.info/sun/jcORZq2CbH6rhmw/bejne.htmlsi=ocHr3AIK-wzraPiH is this a good classical voice workout?
So,how was the premiere?) Do you like to sing Tchaikovskiy?
Wonderful! I love it, very happy to add it to my repertoire and looking forward to hopefully singing it again soon!
Strangely enough, Pavarotti contradicted himself when he said you're not an operatic tenor unless you cover the F sharp (and above) as one of his idols, Giuseppe di Stefano (see his book), did exactly not do that.😄The learning? Everything is relative.....
Yes! many tenors including Pav depending on the phrase don’t fully cover F sharp. I as well find that in a performance I may fully cover an F# on another performance I may half cover and sometimes not cover it at all depending if the phrase is ascending or descending, what the dynamics are, as well as the intention. Is it more of a heroic moment or verismo or is it dolce? Dramatic purposes can also change the outcome just because of the color you are trying to express. Like shifting gears in a manual car, F sharp seems to be that pivotal gear right into the tilt position that will allow you to continue to ascend through the passagio without the “belting” or “strangling” quality in the sound. For warming up purposes in a practice room when I get to F# I always do all 3 (covered, half covered, and open) and see what feels better that specific day for a performance. For the most part I find that for me it seems to be most comfortable in that half covered position and G is absolutely fully covered.
@@Tenor_Simerilla Well said and I can only agree to that. Keep it flexible and adapt where and when necessary. Only Pavarotti was strict on that matter and covered the F#, no matter what....😄 But if that's what gives you a career such as his I'd cover F# night and day.....😂 I've been following you irregularily and must say you've developed well in singing and appearance as you seem to be in better shape now than in the past (which is also an important factor nowadays as audiences and the industry are looking for that) You see where the masterclass with Piotr Beczala has propelled you?😄 (hope you recognize me joking here)
@@ilecier 😂 thanks
When you say glottal attack, what do you mean exactly because real glottal attack has been attributed to vocal damage. Maybe you mean an attack like a laugh with your abdomen.
That would be a Hard or abrupt glottal attack produced forcefully which would over time cause damage. As I show in the video This is simply an “uh or ah” sound with a similar sensation to a pulse. Using a glottal attack correctly at the start of a phrase ensures there won't be any breathiness because it ensures a pure tonal sound.
Very good clear voice , an athlete is an Opera singer for sure plus limited sex on performance schedule. Hard life