Vocal Coaches Coach Each Other

[@adamsum207]

I like how vastly different the two of you are as singers. The “just relax your throat” approach vs the super analytical “what am I doing with each muscle” approach

[@jushkoeln]

It's so great to see you both experiment in such a free and open way! I'm a singing teacher as well and i think it's such a gift to find another singing teacher who is open to reflect on his singing methods and who still wants to find different and new singing methods for themselves and for their students. Like you said earlier a lot of teachers stop to learn for themselves at a certain point and only focus on teaching. I found the combination of classic and pop in this video specifically interesting because I started with classical training one and a half year ago und it really helped me improve the way I sing pop and musical. Before I controlled everything through the sensations in my throat and with my classical singing teacher I experienced a really hard but helpful transition to almost not feel anything in the throat. Because of that my voice finally doesn't get tired anymore. I really had problems with that. By the way I think the "nasality" you discovered in 1:04:57 is simply a raised soft palate. It's the same sensation as in yawning. The nose feels open but without any air passing through it and for me the ears feel open too. For some they can also feel specifically closed up. It really helps to create more space in the vocal tract and it is also easier to lower the larynx or to keep them relaxed aaand you will produce a louder and fuller sound with it. So you actually discovered something very important there! It's one of the basic techniques for classical singers so Erickson probably does it subconsciously. In Pop music there are a few who use it (e.g. Sam Smith) but in musical theatre there are more (e.g. Natalie Weiß, it helps to make belting sound much more resonant and feel easier because of the neutral larynx). By the way I'm from Germany so sorry for the grammar mistakes :D Keep experimenting and keep making such great and interesting video content!

[@SYNKSENTURY]

to my ears, i’m reasonably certain that erickson isn’t creaking, but engaging a kargyraa style false fold distortion. this can be confusing because he IS achieving a nicely locked in sub-octave, accounting for the similar sound. but he’s not using vocal fry to achieve it, which is why greg can’t demo it with the same sort of constriction circa 1:21:20, and also why erickson says he needs more support

[@babiekoala7643]

Keep up the good work man| Your videos help me a lot personally. Cuz I tend to forget the feelings of notes after "Good days", then I come back to your channel look for CVT, Mix Voice, and Secret to transformation and that helps me a lot to again get the feel of how it should sound in different ranges But these days I'm not happy with how I'm sounding. Edit: Please upload CVT pt.²

[@brentanoleader]

Thanks!- I sense all sorts of integrity from both of you. I'm a singer/voice teacher too. I was trained 'classically'.I've performed quite a bit of opera, art song and oratorio. I think the training situation in that world is in general not great at the moment. -Probably many reasons for this. The discussion is great. Honestly, the talk about ' exactly the same place' and speech vowels above the staff(for guys) makes me a little uneasy- again for multiple reasons- likely because of what I've encountered firsthand singing and teaching All that aside, I love that you both are listening, observing and trying to exchange skills and ideas you've found valuable and helpful BTW Have you seen Marilyn Horne's more recent master class/teaching videos? She now says that singing is only about 'forward' and muscular support low in the body. Her early teacher was Vennard- Do you know that book? It's titled 'Singing-the Mechanism and Technic- or something close to that- he includes discussion of registers, formants,vowel differentiation, using the quasi falsetto, etc Anyway- keep going!- Thanks

[@pep-cman5070]

get your fancy ass outa here

[@brentanoleader]

@@StudioWestLessons Agree-especially as the video went on -different strokes (glottal?,haha) for... super healthy discussion IMO

[@ilBaccello]

Wow. This is so valuable... Thanks for sharing :-)

[@flaze3]

I feel like this video shows an important difference between classical and pop technique. For me, pop is happy with yelling and falsetto etc whereas classical is much more about "one voice" and so there are lots more delicate shifts to give the impression that it is. Pop on the other hand almost goes out of its way to accentuare the different parts of the voice

[@rafalvarezsevilla]

oh noooo do part two pleaaaase :)

[@SamuelNovota]

Good stuff, Greg. Thanks for sharing. Keep it up!

[@minflake]

Omg this is awesome, I'm loosing my shit over here 😂

[@peterdacius]

I loved see this greggggggg

[@nahte_king7701]

so I have problems when I go up to B4 and C5 using flagolet tension I either add too much and I over shoot the notes by a lot or I dont have enough tension and it just sounds like a high pitched growl. So any tips on tension control?

[@wanpynskhempyngrope9263]

Hello can I have a vocal lesson with u... I'm having trouble in singing I'm not sure if I am singing correctly or not...

[@izukikatzuki6890]

is second falsetto the same as falsetto mix?

[@StudioWestLessons]

No! :)

[@izukikatzuki6890]

@@StudioWestLessons 😭 ik know that its flagolet LOL TY

[@riogon10]

Yeah yeah yeah

[@dmkreeper]

How long did it take for you to find ur mixed voice?

[@alic01ak]

@@StudioWestLessons factssss

[@ilajdzapravi]

I found it after 2 years, because I didn't work constantly, I tought that is imposible because I am baritone, now I can sing B4 in chesty voice, but I cannot use in song yet, because I need to study mu muscles to transitions, it's so hard (sry for bad english) 😃💪

[@johnernestdano5145]

Do you have instagram ? I wanna follow you

[@bengonzalezruiz9416]

Hi :3