Відео

You're absolutely right about other styles demanding different laryngeal positions. in general though I feel like the larynx should be "quiet" and not forced into any particular position. For me, the only way to produce a free and healthy sound is to separate vocal production from laryngeal position. I believe this is possible in all styles.But to be honest I am not a master of high laryngeal singing since I've sung opera my whole life.

That reminds me of when I was doing some pop songs with my very first voice teacher Bray Wilkins. He and I were singing along with the original recordings and while I would be trying to mimic the original artist, my teacher would sing opera style. As a result, my ears couldn’t tolerate two opposite singing styles clashing together, but I was way too focused on singing to worry about that anyway. In fact that might be something else that probably inspired me to develop this style of repetitively cycling through different larynx positions as quickly and for as long as possible.

@@larrycardenas6122 my pleasure. Welcome!

@@denismorissette7344 the idea there is to say that the larynx should be low BUT it shouldn’t be forced into a low position. It should also be noted that this is a technique mostly for classical singers.

@@caleguillory5451 honestly yelling, belting, and even screaming are nothing compared to putting too much pressure on the vocal chords. “Heavy” singing is what I’m talking about in this video and in my opinion is the most damaging mistake a singer can make.

So, are you saying that what I described in my comment is possible?

@@caleguillory5451 it’s certainly possible. I would just go about it carefully by warming up well and making sure any extreme vocal activity is on the body.

@@davidfroehlich4598 haha, great to be seen! 😆

@@genowefaborycka3871 I love Elvis! You can never go wrong with falsetto sirens; either on a hum or vowel and flipping between full/chest voice and falsetto from low to high, high to low. It’s a great way to loosen things up and get a good healthy vocal stretch. I also like scales: 3-note, 5-note, or 8-note major scales on Ah. You can mix up the patterns and vowels however you like. Work on legato and not getting heavy. Force yourself not to sing loud. Keep it mezzo forte (medium loudness), this promotes control and engagement of your body/support.

@@rsunnybrook5318 being too fixed. Sorry that wasn’t super clear.

@@ИапГоревич my pleasure!

Sorry it's only viewable on laptop. For some reason it doesn't show up on mobile. Are you able to look me up there? If not I will have a booking page up and running quite soon.

@ thank you for your answer. I am not able to see you on laptop. I will have to wait your booking page.

@@bertrandravoux8091 Sorry about that. But you're in luck, I just published my booking page. So you should be able to get in touch that way and book a lesson if you like.

Not sure about metal, but if you want clarity in the low you have to think of making a brighter, more forward tone.

Whaat?!!

My pleasure!

Great question. The short answer is no, but it really depends on what you're singing. Being connected to your voice will give you more quality and control and is basically always preferable. BUT in my experience it's easy to go too far with the idea of, or feeling of, "connection." So you have to be careful about that or it can feel heavy, weighty, effortful. I would say it's much safer to practice lightness and agility and work on "freeing" up the voice first.

It absolutely does! For that style of singing I would say focus on bright and connected.

*Shrug* Call it a British affection I guess.

Better than saying “like”

Yeah

So what? What's the problem?🙄

@@stephanieweinberg9633 😂

Hey sorry I missed this comment earlier. To be honest, I don't know classic rock very well. But one of my favorite singers from that era is Steve Perry from Journey. That guy can sing!

@Anders_Ray_Voice Totally yes! Thank you!

Thanks for sharing!

im not an anatomist .. what is a soft palate ?

@@Reven-p9g It's the soft part of your rear upper mouth. The uvula hangs at the back of it.

Good question. I would say I'm a Kavalierbariton. I sing Mozart rather well and some bel canto rep.

Thank you so much! It's my pleasure.

😄

Actually you need that balance of bright and dark to blend most effectively; just like in choral singing. But it really depends on the style. My lessons are focussed on "classical" technique but the same ideas can be applied to all forms of singing. Just a question of how far you want to take it.

​@@Anders_Ray_Voice valid, my style is barbershop so probably brighter than classical but we still definitely need space for overtone

@@KazzFrame Absolutely. Barbershop is a perfect application for these concepts! Hope it helps.

My pleasure. Thanks so much!

Thanks so much, Tom! So happy I could add some value to your life. Feel free to reach out any time. Best, Anders

Thing is: I like brassy sounding vocals (Chaka Khan, Adam Lambert)

There's no hard and fast rule about this. You can still make healthy sound without a low larynx. For me, singing bright and forward is more important. If you can add a low larynx to that without losing your forward/bright position... THEN it really enhances the quality. But it really depends on what you're singing and how you want to sound. First priority is light, bright and forward!

@ Okay I will try. I can feel that lowering my larynx gives me plenty of space in my head voice, especially the high part around F5 - C6. But I need to raise my larynx when singing with a metallic/chest like sound (only sustainable up to A5 though. I don’t sing classically… I suppose I would not sing that high when singing classically. Does this sound have a cap?

@@RaffaelWindgassen No there is no cap. The only limitation is your own physiology. For pop/metal/modern style of singing it's much more acceptable to just sing bright and connected. For higher register it's good practice to work in falsetto and mixed voice. That will give you more extension and is very healthy compared to belting or going with a lot of weight and volume to the top.

Hey so overly dark and weighty sound comes from the larynx being fixed in a low position, which is exactly the issue with titling videos things like "Why a Low Larynx is the SECRET to Amazing Vocals" because lowering your larynx WILL NOT turn you into a good singer. Keeping a low larynx should not be the aim or you'll do it by any means necessary which will ruin your natural sound. A naturally lowered larynx can be achieved by just relaxing your pharynx and then your job as a singer is to put faith in your instrument and support it with the muscles responsible for breathing out. When you hyper focus on lowering the larynx you start to search for the sensation of having it low in order to make you feel safe in your technique but this is over involvement as a lowered larynx just feels loose and relaxed. Larynx movement is a natural part of singing and you shouldn't stand in the way of it, you also don't need to control it, you just need to relax and put faith in your instrument If you have trouble getting in touch with the muscles required to breathe out, try partially covering your mouth with your hand to create resistance (not too tight) and breathe out for reps. Try finding that relaxed pharynx space (look up anatomical diagrams and also release the nasopharynx) and do a released, slow hum that is controlled by the transverse abdominus and so doesn't involve you having to think about anything above the collar bones. You should feel a lot of brightness in the sound. Do that hum slowly and focus on engagement of the breathing out muscles and take it up and down fifths or octaves if you have the strength. The most important matter of this is to put faith in your voice in that you don't need to make it work, it will just work. Good luck

@@nickolasvassilopoulos9905 my pleasure! In fact it could also be an issue of placement or technique and not just volume. To make a blendable sound try singing with the idea of yawn. Making that space should create more warmth and will balance the forwardness of your sound.

Salamat sa feedback. Mahirap hindi maligaw ng landas. Sisiguraduhin kong mas naka-pokus ang mga video ko sa hinaharap. 🙏

@@Anders_Ray_Voice salamat po nais ko po kasing matuto

Hi Georgio, check my bio. You should see my Gmail address there.

@@georgio1930 sorry I just realized my email doesn’t appear in my bio! You can email me at: andersfroehlich[at]gmail[dot]com

Hi Colin, sorry I missed your comment somehow. I don’t know why my email doesn’t appear in my bio but you can email me at andersfroehlich[at]gmail[dot]com

Thanks Valentina. I may be wrong about the etymology but it definitely refers to placing of the voice. Of that much I'm sure.

@@Anders_Ray_Voicemessa di voce is singing from quiet to loud and back. It’s volume and pressure control. It’s a stylistic choice

@@simong8527 That is absolutely correct. I should be more clear in my videos that I'm using the term loosely, since the literal definition is placement or placing of the voice.

@@cantodelcavallero ha thanks. It’s swag from a play that a friend of mine wrote. www.amazon.com/Ministers-Grace-Unauthorized-Shakespearean-Ghostbusters/dp/1544804784?dplnkId=2ac7e4de-9ee5-4267-9b48-fa9684fc0a24&nodl=1

@@Ulterior-l4k not sure what you mean by distortion. I’m not a sound engineer of any sort. But yeah, I would think so… I mean why not. Could be cool. 😎

@Anders_Ray_Voice thanks for the reply I mean vocal distortion like rasp Metal vocalists do that

You can do kind of frog sounds with these vocals

@@ellie.rim30 my pleasure!

@@tomsayan21 hi Tom, great question. There is some discrepancy in terms of language here. But for me, head voice is a full sound whereas falsetto or mixed voice is a different thing. Important to note that falsetto, generally speaking, is not connected try the body. But there is some debate about that. It may depend on voice type. In any case you are absolutely right the placement of falsetto and mixed voice is perfect. And working in that way into the full voice sound is a very good and healthy practice. Please let me know if you have more questions. You can always email me as well.

​@@Anders_Ray_Voice Thanks again for your clarification - this is very helpful. Based on how you described above, this is how I now see the comparison between mixed and head -> mixed (no to limited resonance, medium space, no connection to body) vs head (ample resonance, ample space, strong connection to body) and that mix to head transition through "placement" may be possible. Thank you !

@@tomsayan21 Glad I could help. Indeed if you can make a seamless transition between falsetto -> mixed -> head voice then you are a god among men!

@@javierperez-bs5xc love this. Thanks for the comment. Indeed, as a skinny person, it can feel like hard work trying to support. But in fact it’s more about efficiency and simplicity. If you feel yourself getting worn out maybe try back off a little and exploring the least amount of effort required to produce your desired sound. Could be that you only have to work hard in certain parts of your voice or at certain dynamics and the more comfortable parts you can recover. Very few singers can sustain maximum energy output for an entire performance. Try find ways of taking it easy on yourself when you can. Obviously, when you practice, you can explore your maximum but always with some breaks in between. Hope that helps!

Great, very helpful, I appreciate it👌

@@AndyIntharaphithak haha, thanks. It is what is I’m afraid. #cityliving

Thanks. I'd love to understand it better. Can you email me? My email address is in my bio.

Sure thing. Next video I'll demonstrate some exercises and how to apply these principles to repertoire.

it's probably out of your range, are u able to pitch the song down a semitone and try it

Love it. Usually if you give more energy to notes right before the high note, then the high note will come out better. Of course it could also be a physical limitation. My recommendation is NOT to belt or go with force/volume, but rather use your head voice. Utilise idea of falsetto.

@@Anders_Ray_Voice my advice is getting a vocal coach if you haven't already. I can suggest a very good one that has helped me A TON.

@@brittmoore5557 agreed. Having a coach is a good idea of your serious about your craft. I checked out your channel btw, you have a beautiful voice. I’d be happy to hop on a call and talk shop if you like.

Can you give us a demonstration on your channel?

Hello Russia! Thanks so much I'm glad you get value from my videos. I've noticed that issue with the volume and I have NO idea why it's happening. Still working out the kinks here! Haha

My pleasure!

@@bazzabe7360 thanks for the feedback. I’m so glad you got value out of my video! I will recommend some exercises in future videos.

can you help me? how can i know i'm leading my words with air and not projecting from the larynx

Not sure what you mean by "looking forward tone." Could you explain?

@@Anders_Ray_Voice With "looking..." I tried to express: "with the intention of" getting "light, bright, and forward" emission of the voice. Thanks a lot!!

@@javierperez-bs5xc Thnanks for explaining, that's what I figured you meant. No, the idea of bright or forward is definitely NOT nonsense. You have a direction and intention when you sing and that's a healthy approach.

@@Anders_Ray_Voice Very kind, and helpful, thanks a lot.

Fair enough. Thanks for the pointer. I'll hire an editor some day soon I'm sure.

I didn’t mind it, though if he wanted to appease both parties he could always just put a time stamp where he addresses the title

@ thanks for the suggestion. Timestamps are definitely on the agenda! 😆

Great information! Thanks!

@@wdaaaa1 My pleasure!