Totalmente de acuerdo con tus conceptos y sensaciones José, los conceptos de: "Voz redonda, anillada, al frente, atrás, arriba, abajo, en máscara, brillante, oscura" nos desvían del trabajo real de nuestro cuerpo, por lo que primero hay que reconocer qué es lo que hace nuestro cuerpo antes de querer hacer conceptos muy abstractos y sobre todo ESTÉTICOS, el canto es carnal, corporal, muscular, y con eso es que hacemos algo bello, con ayuda de nuestra musicalidad, la pasión de cada quien que integra a su canto. Primero reconocemos y aprendemos a utilizar, flexibilizar, liberar nuestro instrumento y luego es que hacemos música. Cuanto daño han hecho los conceptos tan abstractos sin su fundamentación objetiva en funcionalidad y muscularidad del cuerpo.

Do you do any kind of online lessons? I am from Europe and i would like to try something like that with teacher like you.

This is a wonderful guide, thank you so much!

So very thankful for your instruction!

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100% this!

Is Simoneau off your list of good tenors? A very pretty voice IMO

man, your eyes 😲😵

Primal, animal--nature-based sound. Some girls might even say "Woah, you, dirty animal! I like it😏")))

Great video!❤

Moved to tears ❤❤❤ You have that magic charm and exciting and emotional sound 🤩🤩🤩🤩

Jose, this approach is also very beneficial for sopranos. Your videos have helped me tremendously! I’ve been classified as a soubrette, lyric. Whatever your range or “voice type”, these concepts I think apply to anyone who seeks to improve their technique. Thank you for sharing your knowledge!

Bro sounded like Tarzan

Children start useing your "outside voice " regardless what your teacher says. Stay away from microphones and amplification. He is exactly right for operatic singing. Do this as a teenager and you'll discover your own unique vocal type without social expectations and comparisons.

Hey Jose! When you take that inhale, are you taking air in through the mouth AND nose, or only through the mouth with the raised soft palate? I've been finding that taking an open throat breath with my soft palate raised, which, for me, shuts off my ability to breathe nasally, has been drying my throat out when I sing. but I've also been trying to exclusively breathe that way while singing, which has been getting me into trouble while then thinking about thinning my chords because of the dryness.

Exactly. Pavarotti talked about the athletics of singing. Be willing to spend years developing this technique. Belcanto.

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Very well explained!! Only a few people understand that active exhalation is the most important thing when singing. The actively guided exhalation flow allows the vocal cords to close due to the negative pressure of the Bernoulli effect and build up subglottal pressure without the throat muscles having to be particularly activated. For professional singers, this is vital. The throat only remains open when singing (open throat) if breathing works as shown in this video. This minimizes or even eliminates symptoms of errors, which unfortunately too many singing teachers work on instead of finding the cause of the symptoms of errors, correcting breathing, and training for performance and fitness. Thank you very much for the video!!

Trying the yoddle moan as a bass will definitely get me some weird looks from the colleagues. Won't stop me, tho.

Brilliant

Jose, love your videos, they’ve helped me tremendously. Any chance you can comment on how vibrato is produced? I’ve faked vibrato for so long and it’s caused lots of problems, so I’ve stopped. But I work in musical theater and you must have some vibrato in MT. No matter what I do, I can’t seem to find my natural vibrato. Any help would be much appreciated!

Thank you for the good explanations and positives and negatives of each aspect of what you’re teaching. Very helpful!

Al miunto 23:31 il bro s'era sentito nostalgico del ventennio XD

Thank you for attitude and passion in teaching and in discovering orginal very useful information, for supporting opera minded community. Tomorrow I'll be very visceral and primal))

Hey Jose, how do you see the differences in compression or amount of chord closure when teaching a student how to sing with a contemporary vs operatic sound? Think someone like Freddie mercury.

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Jose, the move from the "squeek" or "falsetto" to "full voice" sounds VERY similar on youtube sound. The difference seems generally very very small. However, what is the trick to "click" into full voice from the squeek/falsetto? Thanks!

The audio cuts out. What singer is the story at 17:30 about? With the high D?

He's got a sound that rivals those in the top houses of the world today. Yeah, I said it! And the hardest worker out there. He sings with extreme musicality, beauty, technique, and uses everything he has in service of the music. Back in those days, yes, they did milk fermatas and held the audience captive with very arresting moments, not merely singing "come scritto." This is better than any tenor I ever heard live at the Met.

Ma nella tecnica del Belcanto NON C'È GOLLA APERTA!!!!! Curatevi di questo, e attenzione: GOLLA LIBERA!!! Quando si parli di golla libera, la prima cosa sarà SBADIGLIO. Ma, curatevi: le voce NON SONO UGUALI!!! Non si può lavorare sulla stessa scia con delle voci leggere siccome si fa con quelle lirico leggere, liriche, drammatiche. Attenzione!!!

Bravo José! Saludos desde Argentina!

Bravo bravo ....roman z polski

I tried for literally a year to finally figure out really strong cord closure with no sucess. Meanwhile u post this, and all I can think of when you demonstrated was "Didn't i try this before?!" Turns out, yes. Many months ago i accidentally stumbled on it too while doing funny voices, one of those being a siren. But only now do i get to realize that, just cuz it was earpiercingly loud and.. Well felt kinda wrong initially, doesn't mean it's bad. Especially regarding cord closure where it now just instantly clicked. Thanks so much for this ♥️

This is the most beautiful aria, but I think you overdone it a bit too much and ends up loosing more than gaining. I think you over think it a bit in your expression... A simpler line of expression and then you can make a marvelous effect when the music conveys it. A marvelous voice you have no doubt, but this piece is not vesti la giubba.. It's la solita storia del pastore... It's the way you approach it, the way you see it, that I believe is different from the way I see it. Please don't take it as I'm being critical, that's not my intention at all, but I would love to listen you do it simpler and build the effect along way until the moment comes, when the music changes and so should your expression... If it's always too dramatic, the effect is lost along way, I think. Congratulations in any case. What a beautiful voice. But the beginning should be more legato... You're starting to tell a story... Don't mark it that much... Later on you can bring all that passion you hold inside.

He seems to have very minute-by-minute recollections of meeting very important singers of the past. Did he also work with Dame Julie Andrews in the 1990s?

Science: No. Imagination: Yes.

It never ends up connecting to the chest for me. It ends up staying heady but on blast

He absorbed a whole school of singing in 1 summer???? That doesn’t sound right to me…. Oh man! Mr Jones gets more and more suspicious the more he talks!!! So strange!

Amazing video and incredible voice. Thank you for sharing your knowledge

Ur an angel! This made so much sense!!

This is muchhhhhhhhh better than yawn for me

Thank you for the video. I find it very interesting because it discusses important things for singers. However, when I was watching the video, I asked myself an important fundamental question. Which vocal technique learning concepts are more important and better for singers? Long, complicated work on error symptoms with an uncertain outcome, or more treatment of the causes of errors so that most of the error symptoms discussed in the video gradually disappear more and more automatically as the error causes work better and better, which in my experience can shorten singing training considerably and make its outcome more certain? For me personally, working on error symptoms has become too complicated and time-consuming because it does not allow me to solve the causes of errors with sufficient certainty and shifts in the error symptoms are often observed. Therefore, also because of my many years of experience, I am now mainly in favor of treating the causes of errors because I find this easier, quicker and more reliable.

David is the best voice teacher I ever met. Each lesson with Maestro gives me better understanding of my true voice with ease and comfort in both senses- psychologically and physically. Critically important to use day by day his precious tips for improving the vocal skills. Jose, thank you so much for this beautiful interview with Maestro.

This is the best. I've learnt a lot from David's website over the years.

Love the comment on Birgit Nillson...so true! As for DiStefano, he wrote a book on singing.

Love both of these guys! Here's a collaboration of a performer's passion for voice and a pedagogues passion for analysis.

Is this applicable for pop/rap more basic melodies? Asking because it feels tight on my throat and not sure about the impact of doing it long term...Appreciate your time!

Berlin ? Which Berlin?

josé querido , soy de Argentina , pon los SUBTITULOS por favor gracias , abrazo grande