He's definitely NOT singing "chest voice" on that top C. Even he says FULL voice--that doesn't mean he's using heavy chest mechanism up there, just that he had cord adduction and it's not falsetto. Opera tenors don't pull up the chest voice to high C. In fact the largest part of technical training is getting the laryngeal tilt to move into a FULL head voice.
Correct. He did not said “chest voice” but “full voice”, and there is a big difference and I think I agree on this part with your comment. For me the way he said it is correct because chest voice and head voice, both are part of The Voice so, when you use them, both, you are singing with your full voice. It is just The Voice but in technical words you must to difference them in order to explain what is involved in the technique of singing. More than explain it, to describe it because the explanation must involve, for me, an organic, physical explanation of how the body do this. All tenors (even baritones like Leonard Warren and others) who never had problems with their high notes used this way of singing. And what a singer must achieve is that the audience does not notice what Mr Bárcenas is showing to us here (I think this is why therms like Do di petto, Chest C or Do de pecho, exists). No opera singer (specially a male one because on females I belive that you dont find too much often a woman that have not this mechanism by nature) can have a long carrer if pretends to sing all the way in the “chest voice”; meaning this that is a singer who don’t know how to sing the pasasggio and high notes (how to use, too, the head voice). Now, Mr Bárcenas here is “revealing the magic” behind the vocal technique and, of course, you may feel clearly how the high C on “full voice” is being produced. And because you know it now, you may like or not know how the "real life sounds". Tenors like Miguel Fleta, Mario Filippeschi, Gian Franco Cecchele, Bjorling (specially when he was young), or now days like Fernando Camarena, Juan Diego Florez, MIchael Spyres (very obvious in his sound, He started as a baritone that, surely, didnt knew how to sing with his full vocie) can sing in this way. In big voices like the first three I mentioned is when you can listen more clearly what they are doing, because specially spinto or dramatic voices must use their full voices. Now, the question here is if this can be REALLY taught. I mean, I know male singers that use their full voice by nature. The “mixture” is made as an instinct, with out thinking and they never received any kind of teaching or instruction on this. There is a video of Camarena, and other of Kauffman showing how the sound can be produced in this way. They can do it but, can you teach it? Is some thing you have, that you can you train or learn from a teacher? You learn it or you discover that you can do this? Anyone who work on the "discovery" can achieve this? For me, the ignorance of how the “singers of the past” used to sing, with what I meant with “full voice”, is the source of why we have tenors with strong big voices singing as baritones and perhaps too many unknown stories of many frustrated carreers. Of course, this matter lead us to annother discussion: The vocal teachers.
@@aguacun I agree with you to question whether it can really be TAUGHT and that it more requires a DISCOVERY by the singer. That said, there are many famous tenors who will at least claim that they had to train for years to get through the passaggio--Pavarotti, Alagna, and even Spyres who you mentioned--to name a few. I was singing as a baritone had an easy high C in a relatively full mix which I had just been using as a sort of rock scream. BUT I had really nothing stable in between. Has taken me years to learn to open the throat and work through the passaggio. A teacher can give information about what to do to favor success but ultimately relaxing the jaw and tongue and opening the throat requires understanding what that FEELS like and also what it SOUNDS like from your own ears. So many of the problems come from hearing our internal resonance; what we think sounds big and full in our ear comes out constricted and small to the listener. The most important function of a voice teacher is to demonstrate and also to be that external set of ears to tell you when you getting hot-or-cold.
It's an interesting discution. I wonder if the cordal abduction and use of the aritenoid mechanism its self doesn't mean a slight use of chest or heavy mechanism. I can pesonally do a great voix mix in a high c, it sounds powerfull and with a lot of ring, but when a want to go down i have to move to heavier mechanism because it turns in pure falseto, cause ir looses tension. It would have been interesting to listen to this guy doing the same but going down to mid voice, like in a major scale
both demonstrations he did are the exact same laryngeal mechanism he just added a TON of air pressure for the latter. He's just being confusing, as all opera singers
Go to Africa and look at some tribe chief’s 13 inch cock and tell me , that yours doesn’t look like baby carrot xD Corelli was a giant baby, and this guy just good light tenor. Chill
Falsetto is easer to sing with a owl-y, whooty voice, so some variation of vowel o is used, and for the chest voice, the more opened the vowel, the easier it is to sing it, so "a" is used most often. Am sorry for my english.
Question for the experts. Was he adding vibrato? And does that mean that he was slightly alienating below the note, then above the note then below again?
First high c was falsetto second was mixed head voice. Both nice sounds. Characteristic of tenors today but not like the Italianate sound of Corelli MDM et al.
Incorrect, look at the spectrogram of it. Falsetto only has 2 spikes: the pitch (C5 here) and the 1st overtone (C6). Every other overtone is very weak, thats why it sounds thinner than full voice. The spikes are also pretty narrow as well. This one had pretty solid full overtones
The first example is falseto and the second is Falsetone or head voice ......chest voice in a high C , Caruso did , Pavarotti did , Lauri Volpi , Corelli .....
They did not, you cannot use the muscle that controls "chest voice" up there on it's own, it shortens and thickens the vocal folds, you'd never have the right elasticity and to produce the high rich sound of the singers you named. Pavarotti himself said above the F#4 it is a blend of the two voices.
both demonstrations he did are the exact same laryngeal mechanism he just added a TON of air pressure for the latter. He's just being confusing, as all opera singers
Opera singers and fans often think that lighter chest voice aka "mix voice" is falseto/falsettone/reinforced falseto (like for example rock and pop singers) while the truth is that those are still mostly singing in chest connected voice/TA activated vocal configuration. They think lighter chest with very small TA activation (which scientifically is still chest) isnt chesty just because its not as heavy as the operatic sound.
So head voice sounds like a counter tenor …. before the 19th Century screeching was not considered enjoyable! No wonder, no one likes opera these days! It’s pretty shrill - go back over a century - Melba times - it sounded wonderful! What happened?
I am not certain whether that is the true head voice or falsettos! The full voice seems not a chiaroscuro. Humans can also imitate and make many sounds, as opera singers can also find a way to sing a high C. Meaning they produce the sound and get jobs and get famous, etc,. Yet it is not a true correct production. However, to have a true production for lyrical music is extremely difficult. Even Pavarotti's technique was very good, but he also had certain problems. Yet for Di Stefano, although his technique was not solid, he could diminuendo on a high C?! Voice is a phenomenon. Metaphysician philosopher
High C does not mean anything . In a full operatic voice it means something . Who is tenor and who is not ? That is relative in the real sense of the definition .
I can’t really tell you all what that C or your comments are full of! (bcs I would get censored) but I assure you all one of one thing it isn’t voice, or knowledge of it. But thx you the vocal revolution is coming.
Step 1: be a tenor. But for reals, you have to have the right voice for it, then practice. A lot. Also, how old are you? It takes a while for your voice to develop fully.
both demonstrations he did are the exact same laryngeal mechanism he just added a TON of air pressure for the latter. He's just being confusing, as all opera singers
He just does not possess the capacity to sing a high C note on stage. I attended two of his performances, and on both occasions he couldn’t deliver. Pretty bad singing overall.
That's pretty normal. A lot of baritones can sing high C even D. But the question is, can you handle tenors tessitura without hurting yourself? The most insane opera baritone on UA-cam who can sing those notes is Joseph Shore.
@@pepsiq210200 ya I'm okay with the tessitura of F2 - C5. I can hit C2 as well but projection is really a problem and a C6 is easy as well but it has a smaller sound so I wouldn't count it as part of my range.
@@poketube6224 that all depends on style of singing. If you are a rock singer, type of the voice not a problem, because you can sing with different tembers all over your range. But if you are a opera singer you should sings in full "chiaro scuro" sound, except a few arias with high E and F. I really doubt that if you are a baritone you can easily sing in tenors tessitura with full projection for 3-4 hours :D
@@poketube6224 thats why voice types exist, really low dramatic tenors sounds like a baritones but their upper register ringing incredible rich and free.
@@poketube6224 check this guy that i told you Joseph Shore, he has that great old Italian technique "appoggio". On his official channel you can find a few lessons about breathing, vowels, high notes. I don't if you intrested in that, just saying :D
Questa tenore e un disgrazia.... senza voce, senza gusto.. questa e una do di finta, non e un do di petto....ua-cam.com/video/RdWf7vUSHww/v-deo.html questa e una voce vera....
Um, no, that was NOT a “chesty” C. The great maestro Loforese knew that you do NOT “carry the chest “ up to C. Listen to what Loforese actually says in the video, HE doesn’t agree with your statement.
Its impossible for the second to be falsetto. Even if you pass it in spectral analsys the F2 formant is way stronger than the F1. Opera fans think anything not very heavy and dark sounding is falsetto. The Weeknd, Bruce Dickinson, skorpions vocalist and etc are all mostly using chest voice in the scientific term (TA activation/m1).
There is no difference between both of them. Head voice is mixed in the second one just by opening the mouth to give that head voice more breathy chest fake! This is all just fake head voice with an open mouth and singing it like a Kate scream...the ones who would like to sing high c or more just Imitat the Kate scream and you will get a higher note than c....the shape of mouth like a jocker face smile with half open mouth and Kate scream it the key to high notes and push the power from the diaphragm in to your head ....this is all and nothing special ...
Yes, he’s singing in a mix-voice. (Full voice) This is old school Bel Canto, they use the pharyngeal-voice to add ring/ping to the head-voice. It’s a healthy way to sing above E4 to high C, even above. Pulling chest-voice isn’t healthy or sustainable for the majority of singers.
It's the thank you at the end for me hahaah what an insane timbre !
He's definitely NOT singing "chest voice" on that top C. Even he says FULL voice--that doesn't mean he's using heavy chest mechanism up there, just that he had cord adduction and it's not falsetto. Opera tenors don't pull up the chest voice to high C. In fact the largest part of technical training is getting the laryngeal tilt to move into a FULL head voice.
Correct. He did not said “chest voice” but “full voice”, and there is a big difference and I think I agree on this part with your comment. For me the way he said it is correct because chest voice and head voice, both are part of The Voice so, when you use them, both, you are singing with your full voice. It is just The Voice but in technical words you must to difference them in order to explain what is involved in the technique of singing. More than explain it, to describe it because the explanation must involve, for me, an organic, physical explanation of how the body do this. All tenors (even baritones like Leonard Warren and others) who never had problems with their high notes used this way of singing. And what a singer must achieve is that the audience does not notice what Mr Bárcenas is showing to us here (I think this is why therms like Do di petto, Chest C or Do de pecho, exists). No opera singer (specially a male one because on females I belive that you dont find too much often a woman that have not this mechanism by nature) can have a long carrer if pretends to sing all the way in the “chest voice”; meaning this that is a singer who don’t know how to sing the pasasggio and high notes (how to use, too, the head voice).
Now, Mr Bárcenas here is “revealing the magic” behind the vocal technique and, of course, you may feel clearly how the high C on “full voice” is being produced. And because you know it now, you may like or not know how the "real life sounds". Tenors like Miguel Fleta, Mario Filippeschi, Gian Franco Cecchele, Bjorling (specially when he was young), or now days like Fernando Camarena, Juan Diego Florez, MIchael Spyres (very obvious in his sound, He started as a baritone that, surely, didnt knew how to sing with his full vocie) can sing in this way. In big voices like the first three I mentioned is when you can listen more clearly what they are doing, because specially spinto or dramatic voices must use their full voices. Now, the question here is if this can be REALLY taught. I mean, I know male singers that use their full voice by nature. The “mixture” is made as an instinct, with out thinking and they never received any kind of teaching or instruction on this. There is a video of Camarena, and other of Kauffman showing how the sound can be produced in this way. They can do it but, can you teach it? Is some thing you have, that you can you train or learn from a teacher? You learn it or you discover that you can do this? Anyone who work on the "discovery" can achieve this? For me, the ignorance of how the “singers of the past” used to sing, with what I meant with “full voice”, is the source of why we have tenors with strong big voices singing as baritones and perhaps too many unknown stories of many frustrated carreers. Of course, this matter lead us to annother discussion: The vocal teachers.
@@aguacun I agree with you to question whether it can really be TAUGHT and that it more requires a DISCOVERY by the singer. That said, there are many famous tenors who will at least claim that they had to train for years to get through the passaggio--Pavarotti, Alagna, and even Spyres who you mentioned--to name a few.
I was singing as a baritone had an easy high C in a relatively full mix which I had just been using as a sort of rock scream. BUT I had really nothing stable in between. Has taken me years to learn to open the throat and work through the passaggio. A teacher can give information about what to do to favor success but ultimately relaxing the jaw and tongue and opening the throat requires understanding what that FEELS like and also what it SOUNDS like from your own ears. So many of the problems come from hearing our internal resonance; what we think sounds big and full in our ear comes out constricted and small to the listener. The most important function of a voice teacher is to demonstrate and also to be that external set of ears to tell you when you getting hot-or-cold.
UA-cam comments about opera and male vocals confirm that I would never want to mix with classically trained male vocalists.
It's an interesting discution. I wonder if the cordal abduction and use of the aritenoid mechanism its self doesn't mean a slight use of chest or heavy mechanism. I can pesonally do a great voix mix in a high c, it sounds powerfull and with a lot of ring, but when a want to go down i have to move to heavier mechanism because it turns in pure falseto, cause ir looses tension. It would have been interesting to listen to this guy doing the same but going down to mid voice, like in a major scale
It’s a stupid semantic discussion. There is no chest and head voice. You sing as full as you can on any given pitch when singing forte
I would like to hear some of the "experts" in these comments sing a high c half as good. Bravo Carlos !
Great voice!! Most would kill for that high C!!🎹🎹
The second C is actually in mixed voice.
I believe what he says , not what you say. ..
@@campeur69they're both right. It is full voice, but it's also mixed voice.
both demonstrations he did are the exact same laryngeal mechanism he just added a TON of air pressure for the latter. He's just being confusing, as all opera singers
Go listen to a Corelli high C and tell me that this doesn’t sound like a castrato by comparison.
Go to Africa and look at some tribe chief’s 13 inch cock and tell me , that yours doesn’t look like baby carrot xD
Corelli was a giant baby, and this guy just good light tenor. Chill
This guy is ON THE MONEY, he has the right idea
He isn‘t
How do I learn to sing with my voice? It is very low but I can hit pretty high notes. I am in sales.
Question, Why did you not use the same vowel in the demostration maestro? No disrespect
Falsetto is easer to sing with a owl-y, whooty voice, so some variation of vowel o is used, and for the chest voice, the more opened the vowel, the easier it is to sing it, so "a" is used most often. Am sorry for my english.
@@MrExcessum Thank you! what is the difference between chest and "full voice" like mentioned in the video?
@Daniel Urry Thanks! thats what I suspected. He made it look so effortles
Question for the experts. Was he adding vibrato? And does that mean that he was slightly alienating below the note, then above the note then below again?
hey ,jackass ,do you know how the voice starts, or any sound for that matter is produced; go to primary school and learn some physics ...
Yes I do think so
And this is lovely🥰
First high c was falsetto second was mixed head voice. Both nice sounds. Characteristic of tenors today but not like the Italianate sound of Corelli MDM et al.
This is not true. The first one is NOT head voice it is falsetto. The second voice is not pure chest either....
no one can pull chest up to high c
full voice =/= pure chest
also head voice can sometimes sound like a supported falsetto
🤦🏼♂️
@@phucnhahuynh4477 Females can
Incorrect, look at the spectrogram of it. Falsetto only has 2 spikes: the pitch (C5 here) and the 1st overtone (C6). Every other overtone is very weak, thats why it sounds thinner than full voice. The spikes are also pretty narrow as well. This one had pretty solid full overtones
Yes,wanderfull,as vrea sa pot si eu face aceasta
The first example is falseto and the second is Falsetone or head voice ......chest voice in a high C , Caruso did , Pavarotti did , Lauri Volpi , Corelli .....
They did not, you cannot use the muscle that controls "chest voice" up there on it's own, it shortens and thickens the vocal folds, you'd never have the right elasticity and to produce the high rich sound of the singers you named. Pavarotti himself said above the F#4 it is a blend of the two voices.
Second is chest voice/m1, falsetone/m2 (reinforced falsetto) can never sound like this.
how tou forgot the most important thing ...how to do it?
both demonstrations he did are the exact same laryngeal mechanism he just added a TON of air pressure for the latter. He's just being confusing, as all opera singers
Opera singers and fans often think that lighter chest voice aka "mix voice" is falseto/falsettone/reinforced falseto (like for example rock and pop singers) while the truth is that those are still mostly singing in chest connected voice/TA activated vocal configuration. They think lighter chest with very small TA activation (which scientifically is still chest) isnt chesty just because its not as heavy as the operatic sound.
So head voice sounds like a counter tenor …. before the 19th Century screeching was not considered enjoyable! No wonder, no one likes opera these days! It’s pretty shrill - go back over a century - Melba times - it sounded wonderful! What happened?
I am not certain whether that is the true head voice or falsettos! The full voice seems not a chiaroscuro. Humans can also imitate and make many sounds, as opera singers can also find a way to sing a high C. Meaning they produce the sound and get jobs and get famous, etc,. Yet it is not a true correct production. However, to have a true production for lyrical music is extremely difficult. Even Pavarotti's technique was very good, but he also had certain problems. Yet for Di Stefano, although his technique was not solid, he could diminuendo on a high C?!
Voice is a phenomenon.
Metaphysician philosopher
High C does not mean anything . In a full operatic voice it means something . Who is tenor and who is not ? That is relative in the real sense of the definition .
and here is an example of a head note C7 - ua-cam.com/video/8hNO259W8Y0/v-deo.html
I can’t really tell you all what that C or your comments are full of!
(bcs I would get censored)
but
I assure you all one of one thing it isn’t voice, or knowledge of it.
But thx you the vocal revolution is coming.
First one sounded mixed
first one was falsetto...
🤦🏼♂️
And how are they accomplished? I can do the first. How do I get the second?
Step 1: be a tenor.
But for reals, you have to have the right voice for it, then practice. A lot. Also, how old are you? It takes a while for your voice to develop fully.
@@ernestryles dont listen To this idiot
@@8KILLSTEP he is right tho
both demonstrations he did are the exact same laryngeal mechanism he just added a TON of air pressure for the latter. He's just being confusing, as all opera singers
La voz plena q hace está muy adelante. Cuando hagas high C la zona de resonancia es arriba y atrás. Y siempre con la cara de ir al baño.
Not a high C from the chest. It was from the throat, and it was not good.
He just does not possess the capacity to sing a high C note on stage. I attended two of his performances, and on both occasions he couldn’t deliver. Pretty bad singing overall.
I'm not a Tenor but I can still sing a high C which is odd
That's pretty normal. A lot of baritones can sing high C even D. But the question is, can you handle tenors tessitura without hurting yourself?
The most insane opera baritone on UA-cam who can sing those notes is Joseph Shore.
@@pepsiq210200 ya I'm okay with the tessitura of F2 - C5. I can hit C2 as well but projection is really a problem and a C6 is easy as well but it has a smaller sound so I wouldn't count it as part of my range.
@@poketube6224 that all depends on style of singing. If you are a rock singer, type of the voice not a problem, because you can sing with different tembers all over your range. But if you are a opera singer you should sings in full "chiaro scuro" sound, except a few arias with high E and F. I really doubt that if you are a baritone you can easily sing in tenors tessitura with full projection for 3-4 hours :D
@@poketube6224 thats why voice types exist, really low dramatic tenors sounds like a baritones but their upper register ringing incredible rich and free.
@@poketube6224 check this guy that i told you Joseph Shore, he has that great old Italian technique "appoggio". On his official channel you can find a few lessons about breathing, vowels, high notes. I don't if you intrested in that, just saying :D
Это фальцет ! Нашёл чем хвастаться .
lol full voice xD more like 1/10 voice
Es barítono
Questa tenore e un disgrazia.... senza voce, senza gusto.. questa e una do di finta, non e un do di petto....ua-cam.com/video/RdWf7vUSHww/v-deo.html questa e una voce vera....
Grande Tenore Angelo Loforese. That is a good high chesty C5.
Um, no, that was NOT a “chesty” C. The great maestro Loforese knew that you do NOT “carry the chest “ up to C. Listen to what Loforese actually says in the video, HE doesn’t agree with your statement.
@@moorfan1 yes yes falsetto but the sounds is chesty free oldschool singing.
falsetto in both cases, second one just more compressed
Its impossible for the second to be falsetto. Even if you pass it in spectral analsys the F2 formant is way stronger than the F1. Opera fans think anything not very heavy and dark sounding is falsetto. The Weeknd, Bruce Dickinson, skorpions vocalist and etc are all mostly using chest voice in the scientific term (TA activation/m1).
There is no difference between both of them. Head voice is mixed in the second one just by opening the mouth to give that head voice more breathy chest fake! This is all just fake head voice with an open mouth and singing it like a Kate scream...the ones who would like to sing high c or more just Imitat the Kate scream and you will get a higher note than c....the shape of mouth like a jocker face smile with half open mouth and Kate scream it the key to high notes and push the power from the diaphragm in to your head ....this is all and nothing special ...
what on earth is a "Kate scream"?
This comment is so off the mark
Wtf. This is the most deranged vocal take I’ve seen anywhere...
Dumbest singing-related shit I've read in a long time lol
Yes, he’s singing in a mix-voice. (Full voice) This is old school Bel Canto, they use the pharyngeal-voice to add ring/ping to the head-voice.
It’s a healthy way to sing above E4 to high C, even above. Pulling chest-voice isn’t healthy or sustainable for the majority of singers.
ok.