I'm just beginning to talk about my theory. Do you think it's necessary for me to analyze all the tenors throughout history using this theory of balanced breath distribution and sound resonance, based on the 'clock theory'? Analyzing the vocal mechanisms of hundreds, even thousands, of tenors, pointing out their strengths and weaknesses, and how we can learn from the best? It's a huge undertaking, and I'm not sure many people would be interested. Most people prefer to listen to artificial, unnatural, and incorrect singing, thinking that’s what sounds good and worth learning. So yesterday, someone asked me, 'What do you think about Jose Simerilla Romero, the tenor?' I answered them, explaining that it’s impossible for him to have correct vocal production because his teacher, and his teacher's teacher, were all incorrect. Pavarotti’s teacher didn’t have the correct breath distribution for sound, so how could his students be correct? Pavarotti was also influenced by his father, and his father had the same issue-incorrect vocal production with the sound concentrated in only a quarter of the body’s resonance chambers. I personally believe that my theory is the best. Not only the theory but my own voice as well. I don't hold any tenor from the past fifty years in high regard because I think I’m far better than all of them. I’ll let you hear me sing one day. My vocal theory, which hasn’t been done in over 100 years and which no one even thought of, clearly defines sound resonance and breath distribution into 12 parts, from 1 o'clock to 12 o'clock. It’s a fascinating study. Once you understand my theory, you'll be able to quickly judge who sings well and who doesn't. Thank you for always supporting my channel, and I really look forward to discussing this with you. Here, not many people will see my answers, and that’s exactly how I prefer it.
@@SacredTemplar8 Thank you for supporting my channel. Developing the ability to judge a singer’s breath control and resonance placement not only helps with your own singing but also aids in determining whether a singer is truly excellent. If you notice that MDM (Mario Del Monaco) creates resonance throughout his range, you can then think about how you can produce a similar sound yourself. What do you need to do with your breath control to achieve this sound? For example, adjusting your singing posture, the shape and position of your resonating chambers, and the intensity of breath distribution. On the other hand, if you observe singers like the Three Tenors, while they are outstanding, their breath is concentrated between the throat and forehead. As a result, they cannot convey deep emotions. Uneven breath distribution affects their musical expression. Let’s study this together, and feel free to share your specific thoughts.
@@lisaszxu1961 Jose Simerilla is a disciple of Jack Livigni ua-cam.com/video/bbH_TOZLnhs/v-deo.html , I think the second voice in this video is Simerilla's, ... and Jack, is a disciple of Salvatore Fisichella (a Rossini tenor?) ua-cam.com/video/DiYyY2Fhp8g/v-deo.htmlsi=_ljzTo8-tVh4ZTuk , these videos may show the elements of your assessment.
@@lisaszxu1961 Jose Simerilla is a disciple of Jack Livigni ua-cam.com/video/bbH_TOZLnhs/v-deo.html , I think the second voice in this video is Simerilla's, ... and Jack, is a disciple of Salvatore Fisichella (a Rossini tenor?) ua-cam.com/video/DiYyY2Fhp8g/v-deo.htmlsi=_ljzTo8-tVh4ZTuk , these videos may show the elements of your assessment.
I have watched LiVigni's and Fisichella's videos among others'. I think everybody talking on their unique, old-school, authentic italian, etc technique... has brought huge confusion on the web. Either people with some degree of voice training got a mess as beginners. I think "Fisichella" school tries to bring a "lighter" voice, an artificial one. It's curious that being Fisichella a "lighter" lyric tenor he does not have a recording of the aria "Di rigori armato il seno". As you told me before, 95% of tenor avoid singing it. Also, it's too complicated how he, and his students, produce their voice. In principle, it should not be as complicated as "quantum physics" (joke). It's complicated while trying to keep a fixed position approach. But, following a transition (clock) it's easier, of course, one has to unlearn one's mistakes... I don't remember who tenor said something like this: high notes aren't difficult, they appear as part of the feeling (expression) of the song. I think this fluid state is something that you try to show as a natural way of singing. About my vocal technique, I'm recovering the old "good stuff" I had before youtubers with "lighter" techniques. I used to transition positions (... hard p., soft p., head...) without being conscious of that. Not all the clock. I'm trying to figure out how to absorb your clock approach. For my former teachers I don't have passaggio, of course I have it in F#4, but this means that my larynx is dynamic enough to avoid the break between registers keeping continuity. Let's see how it goes on.
"I didn't expect you to think this way, but I completely agree. Our vocal world has been in chaos for more than half a century, from Salvatore Fisichella to Jack Livigni to José Simerilla Romero. Their vocal production is entirely wrong. The common trait they share is that each note they sing comes solely from the vocal cords, with no abdominal breath support whatsoever. All three of them support their breath in the upper chest. They overuse their throat muscles, and enlarge the oral and nasal cavities. Fisichella's specialty is his ability to expand the space on both sides of his cheekbones, but this only increases the air volume from 9 o'clock to 11 o'clock, affecting the volume of their voices. The result is that their singing sounds incredibly dull, as if they're merely completing technical singing tasks. Since they can't hold any breath in their abdomen, they can no longer express real emotions through singing. They fail to convey the true emotions of the composers and songs. I'm also shocked by their fake expressions. In this video, ua-cam.com/video/-tN0_jjPjZs/v-deo.html, his high notes are not smooth at all and seem forced. I wanted to analyze these three singers in separate videos, but I just don’t have the passion to comment on such wrong vocal techniques. The biggest issue is that they are unaware of their mistakes, believing that their lack of abdominal breath support for each note is correct. More than 100 years ago, Caruso analyzed this type of overly throat-focused and mouth-based singing, stating that their vocal sound is extremely fragile and lacks a solid foundation, like trying to build skyscrapers on sand, destined to collapse at any moment. These three singers are prime examples of tenors going down the wrong path for over half a century. It’s like a faulty grandfather passing down incorrect vocal techniques to his son, and then the son teaching the same wrong method to his grandson. Now this grandson (José Simerilla Romero) is teaching the wrong method to a new generation of young singers. If this continues, the true art of vocal music will face extinction! I hope you start reflecting and realize their mistakes soon, so that one day you can surpass them! I will tell you exactly how to surpass them. Frankly, I don’t even want to compete with these people using incorrect techniques. My goal is to surpass all the great tenors in history. First, I need to reach their level, and only then can I establish my own vocal style. Because I can master any vocal style. In the future, we can communicate via Skype when necessary, and together, we can learn how to sing. Thank you for discussing this with me."
❤🎉well done, 1st grade lesson
I'm just beginning to talk about my theory. Do you think it's necessary for me to analyze all the tenors throughout history using this theory of balanced breath distribution and sound resonance, based on the 'clock theory'? Analyzing the vocal mechanisms of hundreds, even thousands, of tenors, pointing out their strengths and weaknesses, and how we can learn from the best? It's a huge undertaking, and I'm not sure many people would be interested. Most people prefer to listen to artificial, unnatural, and incorrect singing, thinking that’s what sounds good and worth learning.
So yesterday, someone asked me, 'What do you think about Jose Simerilla Romero, the tenor?' I answered them, explaining that it’s impossible for him to have correct vocal production because his teacher, and his teacher's teacher, were all incorrect. Pavarotti’s teacher didn’t have the correct breath distribution for sound, so how could his students be correct? Pavarotti was also influenced by his father, and his father had the same issue-incorrect vocal production with the sound concentrated in only a quarter of the body’s resonance chambers.
I personally believe that my theory is the best. Not only the theory but my own voice as well. I don't hold any tenor from the past fifty years in high regard because I think I’m far better than all of them. I’ll let you hear me sing one day. My vocal theory, which hasn’t been done in over 100 years and which no one even thought of, clearly defines sound resonance and breath distribution into 12 parts, from 1 o'clock to 12 o'clock. It’s a fascinating study. Once you understand my theory, you'll be able to quickly judge who sings well and who doesn't.
Thank you for always supporting my channel, and I really look forward to discussing this with you. Here, not many people will see my answers, and that’s exactly how I prefer it.
@@lisaszxu1961Greetings. Posting your singing would definitely be very interesting.
@@SacredTemplar8
Thank you for supporting my channel. Developing the ability to judge a singer’s breath control and resonance placement not only helps with your own singing but also aids in determining whether a singer is truly excellent. If you notice that MDM (Mario Del Monaco) creates resonance throughout his range, you can then think about how you can produce a similar sound yourself. What do you need to do with your breath control to achieve this sound? For example, adjusting your singing posture, the shape and position of your resonating chambers, and the intensity of breath distribution. On the other hand, if you observe singers like the Three Tenors, while they are outstanding, their breath is concentrated between the throat and forehead. As a result, they cannot convey deep emotions. Uneven breath distribution affects their musical expression. Let’s study this together, and feel free to share your specific thoughts.
@@lisaszxu1961 Jose Simerilla is a disciple of Jack Livigni ua-cam.com/video/bbH_TOZLnhs/v-deo.html , I think the second voice in this video is Simerilla's, ... and Jack, is a disciple of Salvatore Fisichella (a Rossini tenor?) ua-cam.com/video/DiYyY2Fhp8g/v-deo.htmlsi=_ljzTo8-tVh4ZTuk , these videos may show the elements of your assessment.
@@lisaszxu1961 Jose Simerilla is a disciple of Jack Livigni ua-cam.com/video/bbH_TOZLnhs/v-deo.html , I think the second voice in this video is Simerilla's, ... and Jack, is a disciple of Salvatore Fisichella (a Rossini tenor?) ua-cam.com/video/DiYyY2Fhp8g/v-deo.htmlsi=_ljzTo8-tVh4ZTuk , these videos may show the elements of your assessment.
I have watched LiVigni's and Fisichella's videos among others'. I think everybody talking on their unique, old-school, authentic italian, etc technique... has brought huge confusion on the web. Either people with some degree of voice training got a mess as beginners.
I think "Fisichella" school tries to bring a "lighter" voice, an artificial one. It's curious that being Fisichella a "lighter" lyric tenor he does not have a recording of the aria "Di rigori armato il seno". As you told me before, 95% of tenor avoid singing it.
Also, it's too complicated how he, and his students, produce their voice. In principle, it should not be as complicated as "quantum physics" (joke). It's complicated while trying to keep a fixed position approach. But, following a transition (clock) it's easier, of course, one has to unlearn one's mistakes... I don't remember who tenor said something like this: high notes aren't difficult, they appear as part of the feeling (expression) of the song. I think this fluid state is something that you try to show as a natural way of singing.
About my vocal technique, I'm recovering the old "good stuff" I had before youtubers with "lighter" techniques. I used to transition positions (... hard p., soft p., head...) without being conscious of that. Not all the clock. I'm trying to figure out how to absorb your clock approach. For my former teachers I don't have passaggio, of course I have it in F#4, but this means that my larynx is dynamic enough to avoid the break between registers keeping continuity. Let's see how it goes on.
"I didn't expect you to think this way, but I completely agree. Our vocal world has been in chaos for more than half a century, from Salvatore Fisichella to Jack Livigni to José Simerilla Romero. Their vocal production is entirely wrong. The common trait they share is that each note they sing comes solely from the vocal cords, with no abdominal breath support whatsoever. All three of them support their breath in the upper chest. They overuse their throat muscles, and enlarge the oral and nasal cavities. Fisichella's specialty is his ability to expand the space on both sides of his cheekbones, but this only increases the air volume from 9 o'clock to 11 o'clock, affecting the volume of their voices. The result is that their singing sounds incredibly dull, as if they're merely completing technical singing tasks. Since they can't hold any breath in their abdomen, they can no longer express real emotions through singing. They fail to convey the true emotions of the composers and songs. I'm also shocked by their fake expressions. In this video, ua-cam.com/video/-tN0_jjPjZs/v-deo.html, his high notes are not smooth at all and seem forced. I wanted to analyze these three singers in separate videos, but I just don’t have the passion to comment on such wrong vocal techniques.
The biggest issue is that they are unaware of their mistakes, believing that their lack of abdominal breath support for each note is correct. More than 100 years ago, Caruso analyzed this type of overly throat-focused and mouth-based singing, stating that their vocal sound is extremely fragile and lacks a solid foundation, like trying to build skyscrapers on sand, destined to collapse at any moment. These three singers are prime examples of tenors going down the wrong path for over half a century. It’s like a faulty grandfather passing down incorrect vocal techniques to his son, and then the son teaching the same wrong method to his grandson. Now this grandson (José Simerilla Romero) is teaching the wrong method to a new generation of young singers. If this continues, the true art of vocal music will face extinction! I hope you start reflecting and realize their mistakes soon, so that one day you can surpass them! I will tell you exactly how to surpass them. Frankly, I don’t even want to compete with these people using incorrect techniques. My goal is to surpass all the great tenors in history. First, I need to reach their level, and only then can I establish my own vocal style. Because I can master any vocal style. In the future, we can communicate via Skype when necessary, and together, we can learn how to sing. Thank you for discussing this with me."