Joseph Shore Vocalizing the male operatic voice
Вставка
- Опубліковано 16 жов 2024
- A brief help at vocalization for male opera singers, especially basses and baritones. My articles on singing are on the web here: www.josephshore... Compare • High Note Mania For Ba... (High note mania for baritone) • Joseph Shore High D5 i... and • Joseph Shore Vocalizin... ; and • Joseph Shore-- Di quel...
I´ve been studying for years with several teachers and never found someone who could give me a safe technique on singing. Finding your vocalizing video and listening to your instructions were the best thing that happened to me. I´ve been training now for almost a month and for the first time in my life I feel safe when I sing. Thank you very much! You´re the best teacher I ever met! So sad that you are too far away from Germany to study with you personally!
Dear Mr. Shore, this has helped me a lot! Thank you for sharing your knowledge. I was able by implementing your advice to make corrections in my primo and secondo passaggio. This will have a profound effect on my singing. Great stuff!
It's nice to hear someone talk about singing in a practical way and not get caught up in mumbo jumbo
Thanks a lot for this video, dear Mr. Shore!
I was studying for 4 years in musical college in my hometown Mykolaiv (Ukraine) and only after watching this video I understood what is chest and head voices (primo\secondo passaggio) things I read about a lot and how to go to head voice from chest voice. NOBODY could explain me this evident thing all this years!
I will practice a lot to be able to use my secondo passagio in right way. Because all this years I sung it gola aperta as I can recognise now.
Relaxing when descending but keeping the throat open!
Hello Maestro Shore! Any thoughts on the tenor voice? Many thanks!
Thank-you! Please post more lessons from Maestro Shore.
Mr Shore, you got a very broad range. I am trying to learn high notes making way up from a tenorial baritone to a full lyric tenor almost leaning towards a spinto especially high C. on vocal exercise 124. What is voce aperta in detail? I am also learning to sing in chiaro scuro.
Very interesting Joseph, thank you!
Your exercise is very good when you use your "full" voice (especially needed in opera singing). But how do you train your piano voice in it´s full baritone/bass range (E-g'), which is especially needed for the lieder singing? My biggest problem singing piano is the second passaggio (>d'), because every time I try, I fall into falsetto... :-(
Can you help me out?
Thanks a lot in advance,
Stefan
These are not things I can address on youtube. You would have to study with me. Best of luck!
If I would live in the United States, I very much would like to study with you. But I´m from Germany and that is too much distance... :-(
But thank you for your kind answer. I´m looking forward for your other videos!
Where do you live, maestro? I'd like to meet you!
😢😢😢z😮😢y😮😮chic 4 c8 , 🎉 Źv
I have a seriuos question. Why should any classical-singer warm up humming when air passing through the nasal cavity is to be avoided in this genre? I´ve read that Leonard Warren used the consonant B in his warm up-routine. The reason were that B closes the nasal cavity while m, n and ng opens it.
Samuel Karlberg I take the position of Lamperti that humming is to be avoided. Lamperti said plainly "don't hum."
Joseph Shore Why humming? Doesn't that open up the throat and allows for more access of the air?
NO! Don't hum. Breathing properly opens the throat.
+deadwalke humming closes the throat and opens the nose, the opposite of what you need to sing!!
Hi Joseph. Amazing warmup video ,by an amazing singer! I would like to know where does your second passigio happen? Thanks.
***** the second passaggio is not a note but an area. Closed vowels close early, the open vowels have to be closed and they are usually a half step higher. But the area is D4 to E4
Maestro Shore - I'm a lyric baritone with a dark color some coaches/conductors think will be good for the heavier Verdi, perhaps Wagner once I develop. I appreciate your insights on the time it takes to warm up the voice. In order to feel fully comfortable at the highest part of my range (G, or G#) I feel I need to first warm up, usually to B-flat --- and then rest an hour or more. Following that rest, all seems to be connected to sing my rep. Can you explain what's going on? Thank you...
If you have to REST after you vocalize there is something wrong: could be with your technique, how you vocalize or something physical. Usually after vocalizing we are full of energy and the voice is ready to go the whole day! Si I can't answer specifically. There are too many possibilities!
Some people are mentioning that Joseph Shore has passed away? Anyone having any info about this?
He died in July of last year (2021). He was born with a heart defect .
@@darklord220 Yes, I knew he had that congenital heart condition, but didn't know when he had passed away, thank you.
Maestro Shore, I would like some insight.
I am 22 years old and am of the belief that I am a 'Verdi Baritone' voice; I have the color (the darkness and richness) as well as the size and weight and the range (if I mix correctly, I can sing upward of High A natural and even "push" toward a B-flat) however, fundamentally, my voice is untrained and my technique is undeveloped. I started seeing a voice teacher three months ago and he is if the belief that I am a 'Dramatic Tenor' strangely however others (whom are singers) disagree and I've stopped future lessons with him for such reasons. I believe my passagio's are at Bb3 and Eb4 (I hear a blatant change in pitch at those regions) but I just cannot sing within that area without my voice cracking and sounding raspy and husky and it is so irritating. Why is that? If I sing within the forth octave for a certain period of time especially between F4 - Ab4, I then cannot seem to be able to phone properly below G3 - why is that? Is this due to relying on far too much 'chest voice' and a 'chest-dominant mix'? Is this due to poor breath support and control? Fundamentally, is the heavy baritone voice hard to train and develop and will it take a long time for that to happen? Also, what is the difference between a Verdi Baritone voice and a Dramatic/Heldentenor? Thank You so much.
+Kyle Peters Your last question first: Verdi baritones can sit in the upper part of the voice from middle C to high G forever but they cannot sustain the tessitura of a Heldentenor. In most cases the timbre of the Verdi baritone is heavier than a heldentenor. You are only 22 and by your own admission are not well trained. Find a good teacher--if there are any!!--and get your voice working. Only then can you learn Germont and sing it all and see if it is comfortable for you. Then if Rigoletto, Di Luna and Macbeth also feel comfortable, then maybe you are a Verdi baritone. :)
+Joseph Shore Thank You for your reponse.
And that is the fundamental problem: Finding a "good" voice teacher.
This is exactly why I stopped my lessons with my previous vocal teacher; I genuinely did not believe that he had any external knowledge about the voice beyond the basic level in which he was extending, and that was made more evident when I would enquire about more in-depth questions regarding the voice as a whole and his answers would lay flat and bare or he simply did not know. My instincts told me to leave before I did my voice damage overtime; I felt he was pushing me into a voice type that felt uncomfortable and unnatural.
I live in and am from England and although, yes, there are many teachers around, who could truly teach my voice to a high, professional standard. I'm talented and can sing (opera is my main love) but just DO NOT have the appropriate technique developed at all. It does not help that I have a naturally "Big/Heavy" voice also which is much harder to train - control and support for me especially. Would I have greater chance in America?
Kyle Peters did you find a teacher yet?
Thank you sir.
Maestro Shore, I have a question about the vocal cords in the passagio: Pavarotti says, that in the passagio the vocal cords are only vibrating in the middle and not at the end, so they are closed in the front and in the back (I thinks this is what Garcias "coup de glotte" is about...!?). So should one sing that way in the low voice already, or does one have to close the back of the cords as he goes up the scale? And is the first passagio the point where we start to bring them together and the second passagio the point where they are connecting? And how can one get this closing in the back? I'am unsure if it has something to do with the rounding of the vowels because of Jerome Hines statement that he can sing his whole range on unmodified vowels and just didn't do it because of aesthetic reasons... I would be very happy about an answer! Many greetings from Germany and sorry for my English!!
Whatever the case, and I think Pavarotti is wrong in his description, you would not be able to control it directly! No laryngeal muscles are under your conscious control! One does not learn to consciously control involuntary muscles! One learns the feeling of the voice during registration events, and one needs a good teacher. Pavarotti is talking about a phenomenon called damping which is used by very high sopranos. But so what? Big deal! One can learn all the muscles of the larynx and what they do, and yet never be able to sing a note!!!!
Thanks a lot for the quick response!
+Joseph Shore Maestro Shore, I needed some time to think about your answer and of course you are right that it's not possible to control the musceles in the larynx directly. What would be interessting for me are the feelings in the larynx you have when you go from one register to another. Is it this "squeez" in the passagio pavarotti talks about with Hines? Or is there no Sensation at all in the larynx? Again I would be very happy about an answer!
When the larynx works properly it calls no attention to itself. Stop trying to feel the larynx. That "little pinch" Pavarotti talks about is misleading, like the blind leading the blind. Proper onset exercises train the larynx how much medial compression is needed at any place in the scale. The singer only perceives TONE.
+Joseph Shore All right, so you think I should not take the things Hines said in "the Four voices of man" about feelings under, in or over the larynx to seriously? I have not found in my Head Voice yet, so I would like to Know if the vibrations in my chest that I feel when I sing in chest Voice, should stop and move into some kind of head vibrations if I would sing in proper head voice...
In looking back over opera the last 50 years, stretching back even 50 years before that, I observe that the voices and the musicianship were far greater than they are today. But there WAS something missing. What was missing was psychological and spiritual truth. Let's start with psychological truth. Most singers 50 to a hundred years ago were not cognizant of human psychology!!! Psychology did not get put into the high school and college curricula until much later! In the 60's it was taught and some singers of that time were trained in it. Anna Moffo had a master's degree in Psychology. One can see that she tried to put it to use in her characterization with some limited success. Psychological truth in the character boils down to creating a character whose behavior seems realistic to us because his motivations come from thought patterns we are aware of. The difficulty in doing that is the fact that we are singing rather than speaking. Singing a line takes a lot longer than speaking a line. How does one choose a real motivation and continue it through the line? The first problem is the fact that the tempo of thought about the motivation for the line must always be faster than the musical tempo. You must think faster than the music, otherwise you will just be a singing machine, singing on auto-pilot. This is what we usually see. A singer may give us an interview about his character but when we see him on stage, we just see a singing machine acting on auto-pilot. The temp of the music has beguiled his mind to settle into it's own tempo and so, no real psychological choice can be made. The process is always like this in the mind: The character has a variety of choices he can choose from to deliver a line and he makes a choice for one just a few milliseconds before the musical onset. The phrase, for example, "I am going to go to the door now," could be said with a million different inflections. Choosing one that is consistent with your character is the creation process of psychological truth. Most singers need basic training in acting to achieve this and few get it! The shift up a gear to give spiritual truth to a line requires an overview of the creative process and a subtle, but essential, point of view! For example, many times the libretto will itself tell what the character's psycho/spiritual. Mozart says that the character of Don Giovanni is a morality play, "This is what happens to to people who do evil." Rigoletto is obviously a morality play about karma biting one in the ass! Falstaff is about the observation of "tutto nel mondo e burla, e nato burlone." Realizing the nature of the character enables the actor to make realistic, psychological choices for the motivations of his lines. The totality of singing/acting this way provides psychological and spiritual truth.
The music acts both as a helper and a hindrance to the establishment of this reality. On the one hand, the music and the libretto give the actor a certain set of choices that make it quite obvious. We listen to what the music is telling us. But on the down side, the same music is such a siren call to the mind's attention that it slows down thought and lulls the conscious mind into a form of hypnosis within which the singer has no real time to make real psychological choices for each phrase. The result is that the phrase is given WITHOUT any truthful intention and no real characterization is taking place.
One of the better training devices for teaching singers these rudiments of acting is aural interpretation of literature. Have them practice delivering a spoken monologue without music. Go over each phrase and see where the choices are needed for each dramatic beat. There are always two beats: the dramatic beat which takes place a few milliseconds before the musical beat and which contains within it the insinuation the actor has chosen for the line, "I am GOING to go to the door now!!!!!" --and the musical beat which starts the phrase. If the first beat is not strong or skillful there will be no psychological truth. For example, if a bass singer/actor has difficulty in exploring his OWN inner psychological self he is not going to be able to create a psychological/spiritual real creation of Boris. Such a person might study all about schizophrenia or depression, guilt and madness, but if he cannot bring them to life within himself the character will not be there. He may use gimmicks to have the ghost of the child shown on a projection so the audience can see the ghost too and be very proud of himself! But he will not have created anything true. The truth is found within the fact that BORIS' mind believes his is seeing the child. Every time I would sing the hallucination scene in concert with just white tie and tails, when my Boris saw the ghost, all the audience turned to look where I WAS SEEING him!!!! Gimmicks can't get you anywhere. Real emotion is what is needed. The key to understanding the character of Boris is to see him as a good man! He is a man who genuinely loves his country. He gets boxed in and makes a crucial mistake where the end does not justify the means and he cannot forgive himself for it. It is not that God or even the people cannot forgive him. It is the fact that BORIS cannot forgive himself and that drives him into more and more madness. But if you see Boris as a villain you will miss all this from the beginning.
Perhaps you can see now why performing opera this way is seldom, if ever, done! It takes a lot of work and talent from director to singer/actor. It takes a commitment to human truth! If you have an idiot for a stage director you will not be able to work this way. But this is the only way that opera is meaningful to me and the only way I was interested in performing it. Other singers tried as well. Certainly Chaliapin and Callas tried, though Callas's choice of emotions seemed limited to her own psychological problems. Chaliapin was sometimes successful. Vickers wanted to perform opera this way, but really only succeeded in doing so in Peter Grimes which remains perhaps the most monumental achievement of any actor of the 20th century! He wanted to find that kind of depth in Otello but couldn't. There is not a grain of truth in his character of Otello. He contented himself with pouncing about with big strides and large gestures. There was no truth in it! None! The same can be said of his other characters. They all lack true psychological/spiritual truth. He wanted to give it but seemed clueless as to how he had done it in Grimes. As I said, singers of this golden age thought of opera as essentially only a vocal and musical art form, There was no consideration of psycho/spiritual trruth!! Canadian baritone Louis Quilico told me he had performed Rigoletto hundreds of times and he seemed proud to say, "and one time I even cried!!!!" ONE TIME?????? OUT OF HUNDREDS OF SHOWS???????? You see now what I am talking about and what was missing back there in that golden age we all look back on so fondly with rose-colored glasses!!!!! ua-cam.com/video/-CDQ_73XI_g/v-deo.html
Joseph Shore so what would you recommend for young dramatic voices? Vocalizes...exercise. Etc
Thank you!
I wish my technique as great as mariah carey after doing this exercices
Deseo tanto que hayan subtítulos en español en este video.
Go to Google and find the English to Spanish translator. Then you highlight any comment you want to be translated and transfer it to the "enter text" area to see what it means. If you are referring to the spoken dialogue needing subtitles, I'm afraid that's beyond the scope of this video and an English/Spanish-speaking friend can help you out
Vaya a Google y encuentre el traductor de inglés a español. Luego resalta cualquier comentario que desee traducir y lo transfiere al área de "ingresar texto" para ver qué significa. Si se está refiriendo al diálogo hablado que necesita subtítulos, me temo que eso está fuera del alcance de este video y un amigo que habla inglés / español puede ayudarlo.
Maestro Shore. Do you have any tips for warming the head voice when going there, for me around E natural/ F and above, it cracks and wont come easily? Is it the breathing, the appoggio that is faulty or just pushing that causes this? Any drills to help? Thank you for this video, it is helping me improve immensely!
+Max Robert Usually if the chest voice is warmed the head will be too if the technique is correct
Sorry for all those replies. UA-cam said there was an error posting, but apparently it added all my tries to post a reply. :(
Thank you for replying Joseph. Allright, then I'll focus more on the warming up of the chest, not stress too much and being too eager before getting to head voice. Doing these drills really work well and have made me get up to F# in a way that I haven't been able to before. Not to mention finding a new darker voice. Over F# is however almost impossible for me, though I am trying, experimenting with that upper part a little. The neverending quest for the high notes continues... :P
Thank you for replying Joseph. Allright, then I'll focus more on the warming up of the chest, not stress too much and being too eager before getting to head voice. Doing these drills really work well and have made me get up to F# in a way that I haven't been able to before. Not to mention finding a new darker voice. Over F# is however almost impossible for me, though I am trying, experimenting with that upper part a little. The neverending quest for the high notes continues... :P
Thank you for replying Joseph. Allright, then I'll focus more on the warming up of the chest, not stress too much and being too eager before getting to head voice. Doing these drills really work well and have made me get up to F# in a way that I haven't been able to before. Not to mention finding a new darker voice. Over F# is however almost impossible for me, though I am trying, experimenting with that upper part a little. The neverending quest for the high notes continues... :P