I think 1936-37 from the movie "Vivere".

Spend time looking on my channel. I took the time to make videos. You can take the time to look through them. kzbin.info/www/bejne/qWqzeHyPnZ16aNE

You asked me the same thing on my last video. Did you not get my Email Adress? It is on my Channel page. [email protected]

I understand it is quite difficult. There can be as many interpretations as there are people on the planet. You responded so quickly without even trying. People who want things on a platter do not learn so well. Learning to sing is also about learning how to think how to assess. Study the information. Think about it. Experiment. I have cleared up many misconceptions and given you all the ingredients. I have reduced the possibilities. I have given you the final sound. This is the clue. The final sound is the sound you want to go for. Just like speech. Use speech to help you. Do it on an easy voice volume or softer and at an easy pitch. Say the words, Ha, He, Hee, Ho, Hu. Allowing air to pass through with the H sound. See if you can say it clearly without any glottal actions. The better you do it the more you will feel things just start at the larynx. There is no placement. There is no going anywhere. The voice just vibrates the vowel. Do not play with the vocal folds. The feeling of onset is starting sound on an open feeling. Not on closed cords. The same trachea open feeling as breathing in, is the condition you should sing from. The cords will vibrate without this closure feeling. This is at the area of the larynx. Do not spread the vocal cords. It is more about letting go and allowing the larynx to collapse within the space. The voice is just a small vibration. If you go for volume and want power, you will fail every time. Use gravity and not force. The jaw the throat should feel like it is let go and hanging. We do far less in singing than people realize. I did not just describe the results. Watch the video over and over. Write the main points down. I am very specific in what I say. You do not have to interpret my words. Singing is about going for the sound you want. The unifying action of word and vowel with intention brings everything together in a spontaneous way. You cannot slow it down and you cannot play with the process. The better you sing the more sensations and resonance are meaningless. Each pitch on a vowel has a certain amount of intention and energy that comes instinctively. Trust this instinct. Just practice articulating vowels. See how vowels are actually made. They start from the bottom of the throat at the larynx. The space of the throat opens with the vowel creation. Say it and let it happen. Don't manipulate and play with actions. Do things, observe them and evaluate them and change them by changing your thought process. Listen to the earliest physical and vibratory actions. It will take you more internally to the lowest part of the throat. If you try to make it, it won't work. It is about allowing things to happen. Letting go allows things to happen. Try for a week or so and get back to me.

I just go between the two

It is a name hard to get used to. I think it was used to counter the concept of "Attack" which was seen as something that could be misinterpreted into harmful acts.

He had an open throat. When you get singers to sing in the mask with a closed throat, they get screwed. Kraus didn't need to try to project the voice there. You can hear his voice became harder over time because of this. Kraus seems to have interpreted what he was doing as projecting in the mask. Because he was acutely aware of the sound result. As he focussed on it more it became more prominent. So, he concluded that this was how he sang. Kraus did not consider the actions he was not aware of. Singers hear the overtones of the sound they produce. But these overtones are a small part of the sound produced and of the actions occurring. Some aspects of singing create illusions to both the singer themselves and also the listener. An objective singer and teacher need to try to understand the functioning creation aspect of singing and not the result of the produced sound.

Vibrato is a result of function. The efficiency, freedom, muscular development and balance of function will have an inherent relationship to the final sound. If these things are affected negatively the vibrato will be the first to show signs. An imposition of function is an imposition of vibration. Which may cause the vibrato to slow to a wobble or somewhere in the spectrum of a wobble vibration. Or if the voice is the other way it may cause a tremolo, An excessive movement. Some people create their vibrato, for some it comes more naturally or reflexively. Air movement and support can be tools to facilitate this. So, if we have a vibrato action that is within the guidelines I outlined in the description above. You can safely assume that there are good functional actions occurring. If not. There is something lacking or impeding the function. A vibrato action is one of a number of ways we can objectively assess singing.

@@RadamesAida2Operalovers There are singers with bad sound but good vibrato and those with nice sound (tone, power, fullness, colors) but bad vibrato, so the quality of the sound doesn't always go together with "right" vibrato. Despite your statement, hardly anyone "create" their vibrato. Some have tremolo at the beginning which they slow down a bit later, some develop optimal vibrato since the beginning. Have never heard of cases where a singer gets from slow wobbly vibrato to a good lively relatevely fast vibrato. You can slow down what you developed as a beginner, but it almost doesn't work the other way around. which means it's not under control or manipulation. You got what you got. So the cruel thing is - if you happen to have it wrong = lack of talent, not "lack of technique".

@@eldar5470 Some of the recordings are very old. They are acoustic recordings from the beginning of last century. They are not bad. Your ear is not used to it. Caruso for example lived from 1873 to 1921. The recording is from around 1915. All these singers are some of the greatest voices that ever lived. Which singers have "bad sound"? You have to give me examples I cannot read your mind. The rest of what you said. I do not understand your English. You are trying to prove something. You are not coming across clearly. Why don't you write in your own language. I can translate it.

Sorry. This is an old video. I suspect I had it on the video, but it disappeared when KZbin changed its video editing program. 0:00 Maria Callas, 1:53 Helen Traubel, 2:38 Emmy Destin, 3:15 Eleanor Steber, 3:42 Geraldine Farrar, 4:02 Ninon Vallin, 4:21 Rosa Ponselle, 4:55 Helen Traubel, 5:48 Renata Tebaldi.

It is difficult to teach full stop. Everyone is different. Some people are totally clueless even if you give them all the information and instructions. Some pick things up straight away. Placement singing makes an open throat, and free larynx difficult to attain. I teach that vowel enunciation is inherently connected to good function. It is an indispensable tool to achieve this. Unfortunately, many will sacrifice vowels for placement or sound vibration. I tell people there is no space forward. Forwardness will come with consonant articulation. Dentals, Labial's, Lingual. The upward space is not an issue for people as well. Forward and up should not be much of the focus for a singer. They just happen. A singer needs to work to keep the back space and the downward space. This is what they close up easily. The downward space is easily found by letting go. I also tell the singers our roles are to create the sound. We have the intention of what we are going to say, and we go for the intended sound. The body follows this instruction. Singers find it hard to comprehend this creation principle. They get distracted by the result. Many singers follow and listen to their voices and hold onto their sensations. This collapse everything. And closes the throat. If we focus on creation our mind is at the larynx itself. The place of sound creation for all pitches. The larynx is at the beginning of the vocal tract. The lips are at the end. People think the other way round. You cannot correctly affect the beginning from the end. The end is the result. The follow through. Again, what happens in the beginning follows through the vocal tract. Not the other way round. All the shaping and adjustments are a follow through from the actions at the laryngeal level. This is created through the conceived intention. The Mind decides what to do and the body reacts to the smallest degree. Only if we allow it to do it. So, if people listen to the actual sound and sensations this is the result of an action, not the cause of it. And the result is usually at the areas at the end of the tract. This closes the bottom of the tract at the larynx. Because the singer's thought is not internally at the source. People need to learn to internalize. The larynx rises because the mind is higher than the larynx. High larynx closed throat. The larynx follows the thought process. All great singers are internalizing and playing their instrument underneath them, within them. Even if they do not know it. If people play their perceived overtones, they only limit the sound to the frequencies they hear. Which is usually the top of the overtone that vibrates sympathetically. This narrows and thins the sound and closes off the lower throat space and squeezes the larynx function. This is why people try to find space upwards and forward because the area that supposed to open, the lower part of the throat closes off. This is what I call the area of collapse. Singer's collapse into the nose or mask as a result. The throat needs more space as we ascend, and many get tight at the larynx or depressed and then they compensate by distorting the vowel. A singer mostly conceives of and goes for a full rich sound. It is the darker sounds that open the lower Part of the throat. There is also a danger of losing vowel balance when trying to achieve this. Singers often think as we ascend the scale the voice gets thinner and brighter. It is the opposite. The pharynx opens more especially the lower part, and the voice feels deeper because the larynx seems lower. The vocal tract elongates and opens more. Because the throat opens more the larynx is going to feel lower so the voice will feel like it is coming forma lower position. Totally opposite to what many teach. This happens because the larynx elongates and tilts. That area of the throat needs to release and open up to allow this to happen. Which follows through to the rest of the vocal tract. If a singer is in the role of creating, they stop acknowledging and noticing the sensations or overtones. They do not matter anymore. Because it is not the singer business. Once sound is made it leaves our control. We focus on the vibration creation. Then the whole perspective of singing and the roles of the singer changes. We should focus on vowel creation. A vowel has a structure. A Physical one, and it also is a vibration. The vowel, vibration and pitch are all one created at the larynx within a free open space. The are all resonated by the natural shaping that occurs in the conception process. Vowel modification becomes mute if this is done correctly. Vowel modification is a distortion and excuse because many teachers do not understand what needs to happen. If you go for a vowel sound at a pitch the body will shape and adjust to match that. It is tricky but attainable. This is why great singers can be understood, and ordinary singers can never be understood. Sutherland could have been better if she didn't sacrifice the vowel for placement. This is why I try to understand singing functionally. I was thinking maybe in the future I could do an online lecture series for a reasonable fee or some free live talks. Would that interest you? I could talk and demonstrate what I mean. I hope what I said makes sense. It is bloody hard to type it out. I have a lyric soprano that teachers in her country are calling a mezzo because she has a good middle and chest voice. So weird.

@@RadamesAida2Operalovers Very interesting, thank you for typing this out. I have been experimenting with this and the results have been mostly good. Although in my extreme low register the vowels and sound often get choked off a bit from full resonance when I only think about forming the vowel. Normally I am consciously ballancing the elongating pull of the chords and the shortening pull of the chords, consiouly balancing them for the particular volume and timbre I am going for, I am a dramatic tenor. And by doing this conscious manipulation, my extreme low register is full and resonant below C2 towards the bottom of the piano. I know a tenor does not need these notes, but I am more interested in operatic singing, than singing actual opera, so all of my range is of interest so long as it is a legitimate sound. Consciously balancing the tensions on the chords gives me a huge sound that is also free and very rich in overtones (often it can be like I am singin a chord because of how clear and loud the overtones are in addition to the fundamenta;l). But I have a lot of experience in the past of when I am taking a particular approach to singing, it seemingly is only a matter of time before that which I am doing stops working, probably because of what you said in the video, that there are a lot of muscles involved in singing and we cannot consciously attend to all of them at once. I therefore see the appeal in your approach in that the body does the physical things and we or our soul does the non physical things (focus on vowel and intent of tone and pitch), without any overlap (like the soul trying to willfully change physical things in the corse of the vocal production). The sound I am making when I am trying things with your approach is pretty good and free, but not consistenly as good as me consciously lengthening and shortening the cords. Any thought or suggestions? This awarenes of shortening and lengthening the chords with the CT and TA muslces just came into my physical awareness and control a few days ago (eventough conceptually I have been aware of this concept for a number of years), and since gaining this muscular awaareness and controll, my voice has had a substantial improvement in freedom and timbre and volume, both loud and soft dynamics.

​@@RememberGodHolyBible We don't have conscious control of the CT and TA muscles. They are involuntary muscles. Muscles that we have no conscious control of. A Bicep is a voluntary muscle. We can directly control it. Our heart is an involuntary one. We cannot control it. Some muscles are both voluntary and involuntary like our tongue and the action of blinking. They can be manipulated, or they occur reflexively. Our control of the folds is very limited. As we cannot really feel them. Thus, these actions should all be treated as involuntary actions. As the subtle adjustments for the constantly varying pitches and vowels are too varied and minute for each muscle, for us to manipulate. Even if we could. We shouldn't. Some things are our business others are not. Learning to sing is learning to do things and learning not to do other things. It is straight forward. We go for the sound we desire, and we do what we can to allow it to happen by not getting in the way. We as singers cannot hear everything. We can maintain the consistency and evenness of sound production, the vowel enunciation and the freedom and space of the physical vocal tract. We are also aware of the relationship with the breathing support with the function up to a point. Talking about the pulling and shortening of the cords is a dangerous thought process. It might work for you. But it is not really a logical action. All you are probably doing is inducing constriction to get a feeling. A feeling like an acoustical sensation is a result of an action and not the action itself. The singer needs to entirely focus on the action. There will be a result, and it can superficially give some feedback. However, it should not be the primary action. You do not get the result by repeating the feelings and sensations of that result. But by only going through the actions that cause that result. Some people go around teaching that the vocal folds stretch and thin as we ascend the scale. This is dangerous. It can lead to a manipulative misinterpretation. We should not do this, and we should not make glottal attacks. A singer should not feel these things. We do not have this sensation there. If we feel things, it means we are imposing. Think about the reason why we sing. This is your mission statement. It is a means to emotionally express words in a melody. It needs around 80% visceral connection 20% cerebral and it needs to be spontaneous, free, beautiful and never contrived or controlled. Like speech. Some of the things you talk about are good indications that your voice is working well. I might do a video on these. Best of Luck!

@@RadamesAida2Operalovers Thanks for the reply. Yes, these are all things I will think on. I will say that I am definitely not going for any feeling at all but fully focusing on the specific actions. I have been studying for many years (almost 20 years, and since 2018 with teachings along the lines which you teach), and in terms of the TA and CT control, no one taught me to do this, it is something that I just recently, in the past few days, started to gain awareness of to control to a greater degree than ever before. And from singing these last few days, My voice has never been freer and never been less constricted, the sound is HUGE, dark and filled with overtone. And the volume can get quiet to very loud without constriction coming in. I am certainly not trying for any glotal attack, I agree that whole line of thinkning is very bad, I was caught in that for many years with all the speech level singing stuff, and such like teachers. I must also add that because of my living situation, these last few days I have not tried this in my upper register, because the volume we be exceedingly great and I cannot be that loud now, so I have only been singin up to about an E4 and down well below C2, but I am not sure what notes exactly, but it is freakishly low, like the lowest of low bass voices, and quite loud and resonant and free considering I am a tenor. And it is not just in the morning, but all through the day I can access this range and sing in that very low tessitura. But with all these things of conscious control of the CT and TA, I do find myself often going to your approach from time to time, because for me the CT and TA control is what I would call in myself semireflexive, like the tongue or blinking, I can control it, but not always perfectly, and many times I have more success in allowing it to be involuntary completely and just going for the desired sound and getting out of the way as you instruct. While it does feel like I am able to isolate those particular muscles and create singing which is good and even ideal, because the control is not perfect, sometimes tension of other muscles start coming in and just slightly bringing in a little constriction, and in those times my very low notes seem to become less resonant, still clear and dark but much quieter and of a quality you might expect from a tenor singing exceedingly low, but well, but still sounding like a tenor and not a bass. In other words, not notes that would cary in the theater with any accompaniment. Lord willing, I will soon try taking my voice up to C5 to test both approaches and note how it goes. I do enjoy your videos, especially these more recent videos on constriction and falsetto, and I look forward to seeing more.

"Quando la sera Placido". Luisa miller Verdi.

Even I was confused WTF Horne was trying to teach!!! I had vocal lessons and the teacher also was teaching me to sing the mask and all it did was hurt tighten my throat and give me anxiety

Si mi chiamano Mimi from La Boheme.

@@RadamesAida2OperaloversThank you so much!

@@noobieappearance5822 Actually it’s Donde lieta.

@@ER1CwC Tysm!

If the speaking voice is that screwed up there is no point in trying to sing. Singing is a higher level. The vocal mechanism is remarkable in that it can function under the worst of conditions. Most of us will need lots of work on speech. Even when we think we are doing the right things. Sometimes I feel like a speech therapist for my students. Vowel enunciation and articulation of words are things that can be worked on for life. Think of singing as a form of poetry. A student and teacher need to find some reference to guide the development of the voice. The speaking voice is essential. The speaking voice has a number of factors that make it vital for singing; The enunciation and articulation of words for clarity of expression and balance word formation. The intention of the words which are the unifying actions of singing. Intention and emotions bring in together all the parts to form the final product. Without expressive word, we get only noise.

​@@RadamesAida2Operalovers You're probably US based, eh? I'd like to be guided again with lessons from such schools, but have grown skeptical of online lessons. You may find audio quality adequate for your ears, I had my problems. I didn't mean physically damaged speaking voice. But deeply ingrained bad habits. I seem to have them. Sometimes, practising singing has the effect that I'll speak better for a while after, sometimes speaking comments on the practise recording messes up the scales I want to sing after ;) I feel like I don't have a real chest voice when speaking, and it tends to be effortful, due to constriction. I tend to get it open with low breathy speaking, but when speaking without concentrating like hell, it doesn't take long until it it tenses up again. Actually I am with a speech therapist now, though mainly for "globus pharyngis" like stuff / larynx upwards travel / swallowing -resistance, which may or may not be partly due to me overdoing lowering the larynx (next to too high pillow for long, bad posture, bruxism, tendency for neck tensions...), diagnosis, among others: distance between hyoid bone and larynx way too small & a number of tensed muscles, for some reason, mostly on one side of the neck. I had a while of lessons, some years back (then forced break) with JS, it sounds often like your school is connected. Compared to my prior messed up voice by a D.L.Jones adept, he still worked wonders, but it wasn't anywhere near done & after a break + bacterial infection muting me for months made me start from scratch on my own, I "of course" ran into all sorts of traps.

Maybe sing at pitches that do not cause you to squeeze. Then try to ascend the scale and keep this condition of a freer action. It is too hard to explain. If you think high, you are going to squeeze. There is no up and down in singing. All pitches are made at the same place. When you sing higher you think higher and the throat closes and the larynx rises. Most music sits higher for the comfort zone or speaking range for most people. You need to learn how to do it. You need to find a teacher who can help you and guide you.

​@@RadamesAida2Operaloversexcellent explanation

I have a mixed lineage. I see no value in lineage these days. The lines have been broken a long time ago. The recording is from a Skype lesson. I think it is adequate.

Movie is "Under Your Spell", 1936.

Maybe for you. Nothing bad is insinuated about the boy. He is just having a hard time singing inappropriate music. Causing him to constrict. This video is demonstrating forms of Constriction. I used a variety of different voice types to represent the different conditions. Children can constrict as well. I would be more offended that someone made him sing this dramatic soprano aria. Wrong repertoire can ruin voices. The clip is around 20 years old. How does one fix problems in voices if they cannot be identified first? Should I have used a non-literal child?

@@RadamesAida2Operalovers you’re hyper critical and it was wildly inappropriate to use a clip of a child singing to illustrate your point of view.