Why Overtone Singing Is Important For Opera Singers

[@florian7485]

Those videos are so entertaining and informative! I loved the part where you talk about your early plans of becoming a voice over artist. At one point you make your voice sound exactly like Homer Simpson, I love those stories.

[@seamasrhind7216]

Brilliant Maestro! I have known about over-tone singing since 1974; in 1975 a recording of Stockhausen’ Stimmung was my first listening experience however i have not ever heard/seen such a clear and concise introductory explanation of over-tone singing. Please come to perform at the Adelaide Festival of Arts in South Australia, really soon. Kind regards, seamas.

[@johnblasiak2499]

Bjorling was magnificent I loved his voice such a beautiful Timbre

[@dawnadriennetaylor970]

I did an overtone chanting afternoon with Jill Purce in the 1970s. I'm also an opera singer but didn't realise OC was also beneficial for voice. Jussi Bjorling was my Father's favourite tenor and there were many more, lesser known before him. We still have a fine collection of his 78s. It's also a very different training nowadays with certain modules taken out. Probably why modern opera singers look as though it's an effort to produce notes.

[@wotan10950]

Fascinating discussion! I’m not a professional musician, just an amateur pianist and singer. My piano/voice teacher stressed breath control, using all kinds of exercises to strengthen the diaphragm. She also stressed placement, telling her pupils exactly where in the chest/mouth/head to focus the air for maximum resonance. If I feel ANYTHING in my throat, I know I’m doing something wrong. No, I never had a music career (but I was a VP in publishing), and at age 67, I can still sing legato, negotiate the passaggio, and pop out sustained high notes with almost no effort!

[@MartinPraetorius]

Thank you for this insight. I've only known you for a few days, by pure accident. A folk singer friend of mine posted a picture of himself in a beautiful theatre in Italy and jokingly said he was venturing into the folk opera genre. I commented with the first line of "Largo al factotum" and in case he didn't know the aria, I did a Google search, found your brilliant version and sent it to him. Although I am not a classical singer per se, I have had 20 years of experience in the genre, singing with the Essen Bach Choir and a few years of loose lessons with the late Werner Lechte of the Robert Schumann Hochschule in Düsseldorf, back in the early 90s. I have been to Greenland and heard throat singing in one of its natural habitats, and am delighted to hear that a fellow countryman of mine happens to be one of the masters of overtone singing, which I will be exploring. Hearing an seeing you sing is pure joy and very uplifting. Thank you!

[@mariacasemyr]

Fantastic! Great explanation of overtones ❤

[@Sopranoknits]

I find this super interesting and am trying to learn how to do it as a fellow opera singer! I'm finding that I'm having a difficult time practicing without creating quite a lot of tongue tension which ends up being quite vocally tiring as of course all of that is connected to the larynx. I would be SO interested to hear more about this from you and how you produce the sounds in a way that is complementary to an opera technique!

[@pwlott]

I remember you from way back when I stumbled upon your Siepi imitation video, and the Rigoletto. You already sounded so good back then. Seeing your recent performance videos, it all makes sense. It makes sense just how well-rounded and deep of an artist you are. Truly amazing. In awe.

[@razdoburdina]

Passionnant! Merci beaucoup pour les explications qui entrouvre la porte vers le mystère de la voix!

[@donquijote9058]

Gracias por tu generosidad Michael, estos videos son de gran ayuda, un abrazo grande!!!

[@JillyCookeMusic]

9:11 is the most perfect yet seemingly unintentional Homer Simpson impression I've ever heard.

[@karlschuler]

It’s so good

[@primezone5950]

Hi Sir, can you make a video on how you vocalized when you were starting to learn to sing?

[@sebthi7890]

also the gutural deep tones are helpful for an opera singer. I am not if only the so called false vocal cords, which are above the "real" vocal cords, but these false vocal cords or pocketfolds are the main source for these sound. I could use these singing technique to massage my vocal chords, using it without pressure it has a positive influence for an opera voice as well.

[@AindriasHirt]

The space between your cords and your tongue (first formant) doesn't match the fundamental of your vibrating cords. It's an overtone. In order to create resonance tuning (call and wait) you need to release your tongue. Conservatory singers don't do this. Michael can be faulted because he has no spin on short, leading or passing tones.

[@evil.illuminati.vaccine981]

Gutural voice singing is already unhealthy, because the tongue might fall back into the neck . It's a horrible practice and sounds ugly too.

[@jonathanholley3407]

Wow! What you did at the end of the video was mind-blowing. Thank you for this.

[@warmelon4672]

9:30 I've never seen a tenor hit C1 this easily. He's like the pinnacle of the human voice

[@Silversnapdragon]

Interesting that Bjorling was found to have most overtones. I was being classically trained for Opera, and my teacher was trying to "type" my voice and one lesson she said, "I just heard something I've never heard from you." And when trying to work on a new song, she said I should listen to Bjorling sing it because his voice matches mine the closest. Never told me why or what she heard, and she passed recently and long before I finished developing my voice. I will never know what she heard, but your video has me thinking it may have been a hint of overtones.

[@maximecouillot5028]

It could be cool if you continue to do lessons with your own journey. It's very interesting.

[@leonardoalmeyda224]

Hola Michel tienes una voz absolutamente maravillosa te felicito de corazón y muchas gracias por la enorme generosidad y humildad que tenés para regalarnos estás excelentes clases. Abrazo grande!!!

[@isaballaserrano4991]

Thank you so much for sharing this 👏🏻❤️💯

[@raynardi2326]

Bravissimo! Veramente eclettico

[@DavidNapoles-ee2xl]

I feel so identified by you, lol, I have and still do the same

[@kevzzyz]

I enjoyed those impressions.😅. Fairplay.

[@jjzhou7825]

Thank you very much for this video. I think this technique and exercise will help my singing voice a lot! Thank you for taking time to make this video

[@frt5544]

Could you please explain Voix Mixte too? In a video, you are talking a little bit about how that is important for you. How did it help you? How is the correct way of producing that kind of sound? Learning about Voix Mixte from you would be great.

[@bakeman2]

Incredible! Thanks for this - never knew you could do this!

[@45calebt]

Wow! Great "Homer" at 9:10!

[@IsaacChute-j3d]

So @Michael Spyres should we target the overtone are when singing opera?

[@Mthokozisi_Mbuyane]

Do you use the same technique to sing the tenor range and baritone range

[@sebthi7890]

There is a theory about different habits of listening or different typs of listener. One part of humanity are fundamental tone listeners other overtone listeners. We all perceive both, but some people give more attention to the higher and others are following the funadament of the sound. A flutist or horn player, even more a tuba player normally belong to the group of the fundamental listeners. A trumpeter or violninist to the other group. An opera singers who trains his perception to the overtones can save a lot of energy. Many opera singer believe that a sound with rich overtones only appears with a certain or even with a high tension are wasting a lot of energy. When you listen carefully to your overtones you can sing effortlessly, perhaps a little less loudly but for sure longer. In my youth i had the chance to listen to a rehearsal of an opera. I was wondering about the tenor because he seemed to sing in such a high region i could not find in the scores. Some good male opera singers have a stronger octave than the fundamental tone.

[@dashi-tumen]

Wow! Thanks!

[@ragnarkisten]

THIS is what I lack!

[@evil.illuminati.vaccine981]

It's more than super true. . Most singers do not even understand overtone singing . But, they don't deserve to know it singing unhealthy, and getting hurt later on around vocal box

[@DancingPony1966-kp1zr]

A lot of singers have never heard of it.

[@Perrosiutico]

An operatic Mel Blanc!

[@Opus_Magnum_Duo]

Hi Michael, really beautiful and wonderful to hear your story. I am curious if you find the overtone singing to be good for all voice types? Im wondering for low voices if this overtone work adds brilliance (beauty perhaps) but then takes away from some of the lower timbres. Would love your input on that.

[@camilaaraneda874]

I don't think adding brilliance to the voice will take something from it as long as the exercises are carefully guided by a good teacher :). I'm a high mezzo, maybe a young dramatic soprano (junge dramatische Sopran in German, I don't know if that's how this Fach is called in English), and I've been working on my high notes and resonance. I've found these kind of exercises really helpful for my head voice and my lower range (I can sing an octave under middle C on a good day!) is still strong. There are other factors, of course, like Appoggio etc, but as long as you don't forget to work on your lower register, I don't think it will hurt you :). If you have to decide between adding brilliance and dsrknen the vocie, I'd definitely go for the first option. I'm still student and this is my grain of salt :).

[@dyllpickle8890]

You've demonstrated a true basses low C on multiple occasions, for a baritenor thats remarkable. Exactly how low CAN you sing?

[@isorop]

do you have perfect pitch?

[@SethSundman]

Is there any particular overtone to 'aim for' or accentuate when singing operatically, or how should the mindset be? Thank you

[@lesliejohnflanagan]

Dear Michael. This is fascinating. I've recently been talking about this with a singer friend in Europe, Phillipe Castagne. I did have a questions though. How do you apply this to your singing? I understand the production of the overtones but was interested in how you use this concept when you're singing repertoire? By the way, I love the Non fach attitude. And yes, Baritenore as a term to describe singers can be found in many places. Cheers, Les

[@ne0romantic]

I thought Tuvan singing was had been shown to be very healthy for the cords, healthier than Western singing. The Estill school did some looking into this, right?

[@7crli]

Tuvan throat singing by Inner Mongolians I can't get what their lyrics. Just a vocal instrument without words?

[@nichj487]

@Michael Spyres Hi! I’m super interested in this from the perspective of a working opera singer. Do you find these sorts of overtone exercises are a good way to warm up the voice? Are good overtones a solid indicator that the voice is happy and healthy (ie. do they disappear when the voice is fatigued or unwell)? When I’ve played around with them the experience of getting the overtone “in the slot” is a similar experience to nailing a perfect siren. Curious to hear your thoughts!

[@hanseriksson6145]

make an aiiiiii sound that gradually goes over to n ooouuuuu with your tongue upward and you're on the right way...

[@carlosmoura8196]

What' s the difference of overtone and Squillo?

[@sebthi7890]

in my opinion the word squillo is an old description of overtones, specially the singer's formant cluster

[@sanders511]

Homer Simpson has entered 9:11

[@clefnoteproductions6695]

That's exactly what Dolora Zajick does. You both have incredible voices

[@operamore9566]

What are you talking about? What #MichaelSpyres does is miraculous, as is his wonderful voice. #DoloraZajick is at the end of her career. You are a gnome, idiot.

[@renilsonrocha607]

❤❤❤❤❤❤❤❤

[@rashadrasimoglu6027]

👍👍👍👍

[@Muttonchop_USA]

Sounds like you're singing Phillip Glass. 😂

[@peterbernhard7415]

"Thank you for clearing up" on yeah, "overtones", that's it It's the physics and the biology. Put into the context of music, not even singing context, no one, and not even those who read or learnt about the following fact theoretically in the physics context, would believe that the sound of violine and (not, however, the sound of a runaway train, that's the intricacy: "overtone" is different from "sum of frequencies!, I say to myself) differ in their overtones. Again, what's the difference between an A from a violine and the "same A" from a human voice? The mixture of overtones. You wouldn't believe so. Consequently, the human voice, always sounding good (sorry for Harryassing about Styles (Styles, according to the above, are different mixtures of overtones, nothing more) has some incredible ability to always find the right overtones. And there is some routine to it, which sure is muscles and nerves. Then, there are situations and emotions. Thus, Fach is driven.

[@franklinperez4588]

Hello, remember that the subtitles are in Spanish.

[@spikelmyers]

HI Franklin we have added subtitles for many different languages if you are needing one that has not been added let us know and we will try to get it added. -Lindsey

[@franklinperez4588]

@@spikelmyers thanks You, it's ok

[@mgc7199]

Have a look at Miserere mei, deus by Allegri and see if you can find the high C as an overtone in the bassline. A lot of 16th century music was written with overtones in mind. The vowels are the key.

[@athinaios-1959]

Can you please explain?

[@ransomcoates546]

The C is not original; it comes from a 19th century arrangement.

[@mgc7199]

@@ransomcoates546 That depends on whether the original bassline allows for it.

[@mgc7199]

@@athinaios-1959 Michael is using the O-U-I scale here but there is also the O-A scale which can produce the high C with the right 'colour' of the vowel A as occurs in the bassline at 'munda'. That A flat in combination with the vowel A produces the high C.

[@ransomcoates546]

@@mgc7199 The C is a great effect, to be sure, but quite foreign to the style of polyphonic Church music of the period. There is a KZbin clip that analyzes the whole question and can show that the C first turns up in a late Victorian version of the piece.

[@franklinperez4588]

No desea de subir videos por favor

[@clefnoteproductions6695]

Are you based in Europe or the United States? How wonderful it would be to work with you. I loved singing in the new york city subway

[@operamore9566]

#MichaelSpyres is living all over the world. It must be horrible to feel you sing in the subway. Tickets are sold out, I imagine.

[@giovannibortoluzzi1384]

2:44 nope, you didn't give an idea, I'm sorry to be that guy. Your (kargyraa)technique is bad, that's why it hurts. The general rule among vocal techniques is: "if it hurts, you're doing it wrong" Its a complex equilibrium between false and true vocal folds, in this specific case. Throat singing can be done for hours without effort... I know it sounded a bit harsh, but I really liked your video until the end, and I felt like you could appreciate my criticism :)

[@ericcsuf]

Interesting dismissal of Tuvian throat singing as "improper" though the culture is far older than European opera.

[@spikelmyers]

Hi Eric! I surely didn't mean to come across as dismissing Tuvian throat singing as improper in general. What was meant by my comment is specifically proper healthy vocal production as it pertains to singing Opera. Tuvian techniques are incredible and I love singing them but it is detrimental to an opera singers technique if one sings in this manner often. Hope this clears things up.

[@lomymu123]

This is very interesting! But it is too much bla bla bla and therefore no real help for anybody. This German guy Michael mentioned hopefully explains 'overtone singing'. Nowadays there is far too much pushing and forcing going on in operatic singing anyway.