The showcasing of the vowel modification in slow-motion and in male voice AND more in pop, musical theatre styles is PRICELESS! Thank you so much. Please keep doing this, keep showing the difficult stuff and be authentic as you are - we do not mind the mistakes, actually, we love you for keeping them in! Thanks again :)
This is absolute GOLD! Thank you so much for your generosity, your knowledge, application and demonstrations are second to none! Quickly becoming my favourite vocal coach on UA-cam! 👌👏
You are so very welcome -- So grateful to know these videos are helping you. Always let me know if there's anything specific you'd like me to talk about. Glad you're here, and thanks for the very kind comment.
Wow, the metaphor with the Japanese art of Kintsugi is so beautiful and inspiring! It's amazing to think of vocal breaks as something to celebrate and refine, rather than something to fix. 🙌
It's a beautiful image, right? I was struck by it when I heard Kevin talk about it the first time. Love seeing it this way rather than the usual desire to obscure or cement over.
Beautifully communicated as always, Dan. I agree that 17:00 some prefer to "maintain" a stable laryngeal position. Might that just be one of many mind games we singers need to play with ourselves to get the coordination we need? Or can it truly be kept still the way I've heard some describe? (My guess is not, considering your choice of words) I've only been able to do it in a way similar to your demonstration. I feel like the higher I go, the more pronounced the color shift is from keeping it in that area. One way or another, it is certainly more potential colors!
@@CHEEFZ090 thanks Nick -- it is indeed possible to maintain a laryngeal position; if you can raise it and lower it, you can also keep it somewhat in the same place. From my POV, vocal technique sought to teach singers to have control over the larynx, to keep it from involuntarily raising and the constrictors squeezing, and then the low larynx became an aesthetic semi-religious tenet of Western classical singing. I think the ability to have many options is where it's at -- hmmmmm how does this sound if I lower my larynx a little? Raise it? Etc. but yes, you absolutely have direct control over your laryngeal location and level of freedom you allow it.
Amazing - thank you so much. Been singing for 1-2 years but still can't get over this G/G# hump. I have a similar break as yours F#. With this vowel modification - are we expected to sing A - Bb and even up to C5 in this manner?
You're very welcome, and so glad you're here and singing. Yes, the modification continues as you ascend in pitch. You'll also let your folds continue to thin as you sing higher frequencies. It'll take on some lighter sensations you may recognize from Mode 2/head voice. If you haven't seen the video about higher notes in mode 1, I think i cover some of these coordinations -- ua-cam.com/video/hlMGwZuCJL8/v-deo.html
Hey good question -- when I sing classical rep, I use the same acoustic tools. For many years, I sang with the goal of keeping my larynx medium-low, but after studying with the good people at Complete Vocal Institute, my assumptions got jiggled around. I always say your laryngeal position depends on your aesthetic aim and what feels most technically accessible/satisfying for you. Here are a couple examples of me singing Strauss lieder where I'm using these strategies (jaw lowering, vowel modification, and laryngeal freedom/float) -- near the end of the songs when the pitches are higher ua-cam.com/video/8dKx6--TQyE/v-deo.html ua-cam.com/video/8dKx6--TQyE/v-deo.html
The showcasing of the vowel modification in slow-motion and in male voice AND more in pop, musical theatre styles is PRICELESS! Thank you so much. Please keep doing this, keep showing the difficult stuff and be authentic as you are - we do not mind the mistakes, actually, we love you for keeping them in! Thanks again :)
I couldn't be happier to hear that this helped you -- you're very welcome.
This is absolute GOLD! Thank you so much for your generosity, your knowledge, application and demonstrations are second to none! Quickly becoming my favourite vocal coach on UA-cam! 👌👏
You are so very welcome -- So grateful to know these videos are helping you. Always let me know if there's anything specific you'd like me to talk about. Glad you're here, and thanks for the very kind comment.
This is so informative and valuable! Thank you 🙏🏾
You're very welcome -- so glad to know this helped
Wow, the metaphor with the Japanese art of Kintsugi is so beautiful and inspiring! It's amazing to think of vocal breaks as something to celebrate and refine, rather than something to fix. 🙌
It's a beautiful image, right? I was struck by it when I heard Kevin talk about it the first time. Love seeing it this way rather than the usual desire to obscure or cement over.
Great info, thank you for your generosity.
You're very welcome -- glad this was helpful.
Beautifully communicated as always, Dan. I agree that 17:00 some prefer to "maintain" a stable laryngeal position. Might that just be one of many mind games we singers need to play with ourselves to get the coordination we need? Or can it truly be kept still the way I've heard some describe? (My guess is not, considering your choice of words)
I've only been able to do it in a way similar to your demonstration. I feel like the higher I go, the more pronounced the color shift is from keeping it in that area.
One way or another, it is certainly more potential colors!
@@CHEEFZ090 thanks Nick -- it is indeed possible to maintain a laryngeal position; if you can raise it and lower it, you can also keep it somewhat in the same place. From my POV, vocal technique sought to teach singers to have control over the larynx, to keep it from involuntarily raising and the constrictors squeezing, and then the low larynx became an aesthetic semi-religious tenet of Western classical singing. I think the ability to have many options is where it's at -- hmmmmm how does this sound if I lower my larynx a little? Raise it? Etc. but yes, you absolutely have direct control over your laryngeal location and level of freedom you allow it.
Amazing - thank you so much. Been singing for 1-2 years but still can't get over this G/G# hump. I have a similar break as yours F#. With this vowel modification - are we expected to sing A - Bb and even up to C5 in this manner?
You're very welcome, and so glad you're here and singing. Yes, the modification continues as you ascend in pitch. You'll also let your folds continue to thin as you sing higher frequencies. It'll take on some lighter sensations you may recognize from Mode 2/head voice. If you haven't seen the video about higher notes in mode 1, I think i cover some of these coordinations -- ua-cam.com/video/hlMGwZuCJL8/v-deo.html
Is this applicable for low-larynx operatic singing?🙂
Hey good question -- when I sing classical rep, I use the same acoustic tools. For many years, I sang with the goal of keeping my larynx medium-low, but after studying with the good people at Complete Vocal Institute, my assumptions got jiggled around.
I always say your laryngeal position depends on your aesthetic aim and what feels most technically accessible/satisfying for you.
Here are a couple examples of me singing Strauss lieder where I'm using these strategies (jaw lowering, vowel modification, and laryngeal freedom/float) -- near the end of the songs when the pitches are higher
ua-cam.com/video/8dKx6--TQyE/v-deo.html
ua-cam.com/video/8dKx6--TQyE/v-deo.html
@@dancallawaystudio thank you!