Tenor, Andrew Owens, Shows Us How to Sing High Notes (with GREAT technique)
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- Опубліковано 8 січ 2025
- Andrew Owens, Tenor gets real about technique.... from cord closure, to appoggio, to singing killer high-notes, you are NOT going to want to miss this general tenor bad-a$$ery.
Voice with Julia’s Technique Talks is where we demystify conversations surrounding vocal technique with behind-the-scenes access to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. Use your judgement.
Show Notes:
:04:09 - Breath
:09:56- Alignment in terms of Support
:12:29- Support in or Support out?
:15:45- Resonance and Registration: navigating the different registers
:20:48- Sensations in Singing
:27:30- Blending the registers
:37:10- Tongue Position
:44:00- On coloratura
:54:50- On taking on bigger repertoire
01:00:39- Desert Island Vocalise
To HEAR Andrew in action: • Andrew Owens sings ‘Sì...
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[Clickable] Show Notes:
0:04:09 - Breath
0:09:56- Alignment in terms of Support
0:12:29- Support in or Support out?
0:15:45- Resonance and Registration: navigating the different registers
0:20:48- Sensations in Singing
0:27:30- Blending the registers
0:37:10- Tongue Position
0:44:00- On coloratura
0:54:50- On taking on bigger repertoire
01:00:39- Desert Island Vocalise
Thank you!
Thanks heaps
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@Sergio Benton Instablaster =)
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I so loved hearing Andrew explain how he "found" his high notes...the reinforced falsetto and gradually figuring it out while listening to recordings....this so reminds me of my own vocal discovery. I learned how to cover the sound, and therefore the real top notes, by listening to Tom Jones. The man has pipes! Andrew's Che Gelida Manina master class with Sal Fisichella is one of the best things on UA-cam! I hope I have the chance to hear him live very soon.
It's fascinating to hear singers talk about their experience of singing.
I wish I had this 10 years ago. May be the most beneficial lesson I've ever had.
Gracias. Grazie mile. Hvala. thank you. Fantastico. Salvatore Fisichella ,truly a great maestro. You are great too. Rado or Radoslav loves to sing from Dubrovnick, Croatia
Fisichelli is so overwhelmingly powerful. I really love watching his masterclass with you.
This is worth years of training as a tenor. Thanks from Sweden.
Dear Andrew what you say around minute 20-26 I just discovered like one year ago and it is so gold and I can completely understand your sensation.. and in deed I think the best way is role plays with mental sets that can help you to get certain sounds.. and other think are movement as you say to let the brain learn what it actually doesn't need to make a good sound instead of thinking rigidly what it should do and not forget..
I so agree about the tongue. If the throat is open and fully supported, the tongue comes along for the ride.
Brilliant!
Hey jack. Good stuff.
I'm working on navigating my top at the moment. It is both exhilerating and frustrating experiences of my life. haha
Finding that ideal registration and support to maintain the ring is a beautiful challenge. My goal is to sing Ah! mes, and O Motu. I have the notes, just have the unlock them.
Thank you for sharing this. I already hear improvement in my sound
That last vocalise reminds me of Seth Rigg's exercises.
Joyce di Donato has a couple of brilliant videos on breaking down coloratura with a tenor and mezzo. Both from her masterclasses.
Really amazing insight - thanks so much for sharing.
Praise Him Tenor's & the Choir , glorify Him !
I took one Online lesson with Andrew and it changed my life. Really.
he teaches online? can u give me more info? thanks alottt
@@heynancie connect with him with Instagram. Write his name
Thanks Julia and Andrew for this wonderful video!
Excellent, thank you for sharing this.
You're welcome!
Good on Andrew for being so honest and open, really appreciate both your efforts on This video.From someone trying to sing without lessons.
I love Owens voice. I must see him live.
This is amazing. He has a georgous voice and such point on technique! Yes yes ysa
Thank You! Julia and Andrew!
Very informative. Thank you.
Awesome interview and awesome singer , thanks!
Really wonderful video ! thank you both
I had a wonderful falsetto all the way up to soprano F6 until I was 18 and D6 until I was 21. Now I have almost no falsetto. Maybe 3 or 4 notes middle C to Eflat or F directly above. I could use a lot of help. Hoping to find someone in Italy, Germany or Austria who can help. I'm a more mature singer. I'll leave it at that 😊
Very interesting. Thank you!
I particularly liked the part where he talked about the 'H' thing. Singing an 'H' always means that air escapes/is expelled but nothing is heard, because there is no musical note that can be sung on an expulsion of air. Notes are always sung on vowels, not consonants.
Notes can be sung on any voiced continuant.
Great talk, thanks!
Does anyone know who he studied with at Oberlin
Loved it. Thanks!
So glad! You're welcome!
His website doesnt work anymore -- where can we contact him now?
Jussi Björling talked about a silver ball on a water pillar. About his high C.
brilliant!
The 1, 2, 3 is really cute. Don't stop doing that.
Julia, where did you get all your knowledge about singing?
What does Fisichelli mean when on high notes he pulls the top of his head up with his hand (without really doing it), what is he trying to demonstrate ?
he means higher placement especially for lighter instrument to sing high ringing but soft notes
keeping the soft palette up which keeps the larynx tilted and creates the true sound that makes the voice sing.
“How important is breath to opera singing”
Talk about a softball
you mean stretching or thinning of the vocal chords - not the entire larynx- right?
To "stretch" the larynx (physically it lowers and rocks foward a little bit) will inadvertently stretch the cords appropriately, since the vocal cords are housed inside the larynx itself
Bravo Andrew Owens
0:32:00 Larynx tilt, timestamping this for my self*
Ah, the classic "burp the Tupperware" warm-up. Big fan!
Hi Julia. Great show. Please consider David Phelps for an interview
Andrew, did l see you on UA-cam studying with Fisichella?
Awsome stuff. Have yall heard of Dimash. He has some uncanny abilities.
Dimash is a pop singer. Very far from real opera. He do some popopera though.
what does it mean to support down? so how do you do that?
Look up Franco tornelli demonstrating appogio technique. That may help you with your question
@@markjenkins1072 ok thank you very much T_T
@@markjenkins1072 You mean Franco Tenelli? Check TenelliVoiceGuru user from UA-cam. Excellent videos. Another one definitely worth to check out, if wondering about where to breath, is Michael Trimble, also on YT under his own name.
Wonderful! It's a rare gift to be able to communicate an inner (meaning invisible to the eye) technique. And rare to be able to demonstrate both the wrong way and the right way. Plus the energy and good spirits of the two of you are refreshing. Excellent questions, excellent answers. Thank you!
How to cover high notes:
Sing a bright 'EH' from your lower register and don't open the mouth more than you did before going to your high register
Job done, congrats
@@salemlumi761 falsetto definitely. You don’t need to sing so high if you want a solid voice. Practice your low and middle register first and then the high notes are very simple to sing, very easy
Andrew is SICK.....dude has a voice that won’t quit. His high C is unreal. Sucks that a talent like his remains unknown outside of the world of Opera. He should be up there with Kaufmann....hell, he’s a better tenor than Kaufmann.
To be known outside of the world of Opera hitting a few high notes isn't enough. You must be able to connect with an audience. Check Jonathan Antoine how to do.
Tiny, throaty voice. Listen to him next to Fisichella. Night and day.
@@emailvonsouroh shut up
It would be great if had the subtitles in Spanish 😫😫. Greetings
💯💯💯
She pronounces German and Italian perfectly, but Leicester is pronounced Lester.
Does he actually demonstrate any nice sustained high notes at any point? I forwarded through it and didn't hear any, just various random sounds to show different technical aspects.
Hi Orlando098.... In the interview, Andrew talks about how to sing great high notes. If you check him out on UA-cam, you will see him demonstrate many examples of awesome high notes!
Lots of examples of him doing in the field buddy. I don't think he really needed to prove it in an interview
Would love to hear Andrew and David Phelps do a duet!!
Almost 3 minutes in, and I'm already like, "Yeah; but is he any good ?"
🙄
He sings maybe the best High F of anyone other than maybe Brownlee right now, he is VERY good and criminally underrecorded
Well he does killer impressions of Lauti-Volpi and Bonci. He is THAT good.
Once you find the mask you never go back to the old way of explaining things. You try to find a better way to explain it to help others.
Nonsense sorry
Like your entire life
I guess tenors are supposed to be nasal nowadays. 🤦🏻♂️
Hahahaha
Most tenors are quite nasal quite frankly. Even the best of the best like Schipa. People just only point it out with modern singers.
@@KajiVocals its clear you don’t know what nasality means, technically, anatomically and psychologically. Tito Schipa was not nasal. I guess there is something in his timbre that you interpret as nasality - however it’s not.
@@celibidache1000 I study voice pedagogy and classical pedagogy and musicology. Schipa was absolutely nasal. As was Di Stefano, as was Pavarotti. They were not hypernasal. But nasal certainly. And that is a pretty low and embarrassing comeback. I suggest you read Ingo Titze’s ‘Principles of Voice Production’ and ‘Vocology: The Science and Practice of Voice Rehabilitation’ and read what he writes there on nasality, and how he also talks in detail about the classical tenors in relation to it.
@@celibidache1000Andrew Owens is not nasal. You people keep desperately searching for something to blame that isn't even there in the first place.
Yes, they can sing loud and a few can hit high notes but in the long run trained Opera singers are soo boring. Bad diction, no dexterity, monotonous. Most important, opera have no relevant contemporary message. It's always the same old hits that goes around. Unfortunate after Pavarotti there has not been any world great singer coming out from the opera community except a few celebrities and a few one trick ponies. After Pavarotti artists like Bocelli, Il Divo, Sarah Brightman, Katherine Jenkins, Il Volo, Jonathan Antoine.... filled the gap.
lol.... to call any of those people after Pavarotti opera singers... is the reason you feel this way. Because that not opera
All those people that you mentioned are classical crossover singers with some operatic training, they're not considered actual opera singers
@@leilathomas2536 No, you are completely wrong. They often are presented as opera singers because they also have a repertoire with songs from western opera. Bocelli even has an album named "ARIA - THE OPERA ALBUM" and Amira Willighagen presents herself on her UA-cam channel as opera singer.
@@yogajedi3337 Bocelli maybe can sing an aria or 2 but he couldnt sing an opera to save his life. He tried to do a recorded version of Carmen and it was garbage. Dont get me wrong, he has a wonderful voice and popOpera suits him well, but that is NOT OPERA. Which brings me back to he is not an opera singer. He is a classical singer but not OPERA.
@@TheBaritonoAssoluto Unfortunate you are still wrong and lacks music knowledge. Fact is opera singer is not a profession and not a title you are given for any specific reason. Not even classical trained opera singers who bursts out in the opera house usually call them self opera singer. In the classical opera world singers only are divided into different voice types such as soprano, mezzo soprano, coloratura, bass, tenor, countertenor....., there is absolutely no classification "opera singer".