You CAN'T sing Opera if you're NOT singing on the TILT position!!!

[@requemao]

Do you have an idea of how many people are now yawning involuntarily because they're watching your video and it's contagious?

[@elainenagano2735]

Does this apply to sopranos too?

[@elainenagano2735]

Hum falsetto is head voice in soprano terminology!?!?

[@Sunny_codes]

Its insane that this is free. Nowhere else do we get this level of technical explanation. Not BS "feeley" explanations. You're really explaining whats actually going on anatomically. Thank you

[@pwlott]

I've said this before, but you really have a gift. So many who "can't", teach. You can (do the art) and you absolutely also can actually teach. It's quite rare. There's been countless people on and off KZbin who have made videos like this, and as a tenor I can't say almost anyone comes to mind that can rival your substance, style and especially amazing clarity. Going over and demonstrating the same and similar concepts really allows the viewer to comprehend the spectra we're dealing with, and ultimately, strike a balance in pursuit of finding that balance. As you said in another video, a lot of this stuff is more subtle than many thing. Operatic singing is the art of aesthetic "yelling" in a really relaxed position where ideally really only necessary muscles are engaged. It's not supposed to be strained and forceful. The richness comes from cords closing properly, resisting air flow, and the vocal tract's resonating chambers working along to help send it out. It's not a "put your opera nose" on type of thing. If a voice has the potential for opera, the right configuration should bring all that out. The same goes for lyric tenors wanting to be spinto. The heft is there, or it is not. Singing on 120% and doing actually straining "spingere" stuff is not going to make anyone spinto. It's true that operatic phonation is a particular aesthetic, but healthy phonation and balance were always at the center of it. It could never be any other way, as an opera singer needs to sing shit tons of difficult music without amplification, day in, day out.

[@raquelinesmith6147]

This guy is a true genius. I’ve been studying this topic for years and have never come across someone who explains things so clearly

[@gerald_the_science_guy]

I almost feel bad getting this video for free; this is a really good video 🙏

[@ddoso8624]

better than years and years of university. Thanks. I love it

[@kabaleth]

Hello! I am a happy amateur who recently started singing with a teacher about a year and a half ago. I've had some success with "opera," and it sounds somewhat okay. My teacher has tried to teach me the "yawn" technique, but I’ve had trouble understanding its purpose and feeling it correctly. However, your video explains it perfectly! Another fun thing I've noticed while singing other genres is that I think I am close to being a soprano. My teacher is very excited about my ability to hit high tones, but I've always felt like I was reaching for them. This has often resulted in tightness, which you described perfectly. It encapsulates exactly how I’ve felt when trying to sing those higher pitches. I’m confident that I can reach those notes, but the effort has felt uncomfortable and wrong at times. Again, thank you for the video! I hope this will help me blossom even more than I already am!

[@dbanksey216]

Oh wow, this just works. Takes a little bit of getting used to, but once you get it right, its just sits in a really nice pocket, requires little effort and boy is it cutting and loud. What I love as well, is your voice just naturally rewards you with Vibrato. Just hit a very comfortable G4 with Vibrato in a very powerful and cutting sound. Thankyou for the content.

[@minasamy4968]

I felt a significant change in how I sound and I've been singing for over 10 years and you made me really feel that tilt and that ring when the sound is placed there , It's a long way for me to build that new habit but I start today thanks to you !!

[@Tenor_Simerilla]

@@minasamy4968 👍

[@JoesFitness101]

Thank you for this... I just started learning opera. I hired a singing teacher, and these vids are really helping

[@some_guy9347]

Hi Jose, as a fellow tenor I love this video! I shared your snarl video to my teacher and she really liked it too. I promptly shared this one :)

[@colinbell-NI]

Thank you so much, very clear. Im actually a baritone who has been struggling with high notes constantly since i took up singing about 5yrs. And im not getting any younger!

[@angalmeida29]

This makes total sense ! singing is not the same as speaking for sure ! It needs a lot more awareness in breath posture etx

[@JorisS-j4v]

Wow. This was just amazing. I took online classes from opera singer and he just kept telling me to sing it correctly but I never had the time to get this full story without even singing 1 second. This was so usefull and now I can use this to start learning. Thank you so much

[@RickiKeith]

I've taken the techniques you demonstrate and apply them to non-opera vocals. I don't lean into the yawn as much and balance almost 50/50 between chest and head and achieve fantastic results! I take that dopey sensation with lowered larynx and loosen it up a bit bringing the larynx into middle position. The resonance and vocal freedom achieved is truly unbelievable. It is truly amazing what you can do if you do it right. Thank you so much for all your content I watch it daily and learn so much.

[@serbianmind901]

Wow Jose just wow, You explain so well that literally even a 5 year old can understand. That's a compliment. Thank you from the bottom of my heart my friend. 🤗🕊️🎼

[@roseperozzi6730]

Thank you. Great instructions ❤

[@fjorddenierbear4832]

Pavarottis "Nessun dorma" is Pavorittis best performance ever because he's nearly falling asleep due to the suggestive lyrics and melody, combined with Jose Simerilla Romero telling him to yawn in order to keep his status as the best tenor.

[@VIDEOHEREBOB]

Jose, Man.. I feel lucky to have found you. You're so good at really dumbing it down (a compliment). As you know, I'm not an Opera singer, but this education, this articulate, simplified explanation is absolutely beneficial to all singers. Thanks again Man.

[@mikemss]

This one really helped me, I appreciate the step by step process of it :D

[@callasoperafangirl]

I love your advice so much as a soprano, it makes sense and is creative but also clear, helpful and makes everything way more simple while singing. Not studying yet but as a daughter of two former opera singers i've recently been so inspired when it comes to classical singing and how it actually works, and so i've started building my foundation and i especially love how you talk about the chiaroscuro and finding the balance between brightness and space!!! 🙏🏼🙏🏼💗

[@thanatos4160]

It's always a good day when maestro posts a new video

[@joannecuomo1312]

Thank you. You’re a great educator

[@holophrazeinikos2046]

Wow- great balancing act for the 'snarl' video Especially since so many singers have been trained to sing 'spoken bright vowels' through their whole range

[@dzagge9799]

Soprano here - this is just so extremely helpful! Thank you!!!!

[@jjzhou7825]

The tennis ball analogy helps! Thanks ！

[@anitadybala.]

What a brilliant teacher! thank you so much for all of these explanations and examples. That's what I needed!

[@egaga-]

Thanks for the meticulous explanation and useful demonstrations of how and how not.

[@Tenor_Simerilla]

@@egaga- thanks for the support! 🙏❤️

[@vaneden9603]

And now every bathroom singer and street sweeper is going to think he/she is an Opera singer! 😂🤣 Great vid.

[@smurf902]

Jose, i sing in "reinforced falsetto" all the time and even with over 25 years of studying, i still get an education every time i see your videos!

[@SCVocalStudentReacts]

Is reinforced falsetto the same as flageolet?

[@chicagovoicelab]

Perfect explanation!

[@AlejandroCaslo]

Most complete All-in-one video on singing operatic style. Wish I had this back in my 20s 😂. Amazing content. Thanks Jose! 🎉

[@KM-ch5gm]

Man! You're awesome. Your explanation is spot on. Mucho gracias 🙏❤

[@adrianrichlivlogs4270]

Finally, opera classes for male 🎉🎉🎉

[@roberthowell8407]

You have a real talent for imparting knowledge with humour and enthusiasm. Thankyou for making these videos.

[@amandaduspiva4331]

love all of this

[@rikku_cosplayer]

Perfect clear teaching

[@leaantolinilid3930]

So clearly explained. Can you post some videos for teaching young female sopranos? Especially working passaggio

[@TheeJordanRossi]

Your videos are a godsend. So clearly explained. Thank you.

[@Jadeee94]

That’s very helpful to clear my thoughts, really appreciate for this video!

[@nancyriman8193]

The best❤

[@simbelmyne7767]

I had to grab a tissue from how much this video had me yawning haha--I'm excited to apply this exercise when it's daytime 😁

[@josepgarciaagusi]

What a master gold concepts! Fabulous dear❤🎉😊

[@BartoszWajsowicz]

I finally get what the 'yawn' is all about. Thanks a lot, Jose!

[@juandavidrojasmayorga6540]

Como siempre ¡¡ la mejor clase !!!

[@EvelynLemusMusic]

Que interesante, muchas gracias.

[@harshakotuwegedara]

Thank you so much for this content❤️😍. Very valuable for me. glad i found this channel.

[@razaqhussain8631]

Very good explanation many issues have now cleared, thank you

[@garciak35]

Thank you so much for your insightful videos Jose!

[@kralvltavin9173]

The snarl really improved everything at once

[@gonzalojerez1749]

OMG this is perfect

[@qwarlockz8017]

I love your vids. I learn so much. Thank you.

[@tomasaguirre.l]

Thank you this video is amazing!

[@gabrieltenor]

Amazing! Thank you so much for this video!!!!

[@sergeant_ruh_rh8537]

Very good. I sing contemporary Musical Theatre and always sound like I’m babbling when singing Opera. 🥹

[@nabucodors]

complimenti! grazie per il video.

[@itschrismdr]

I can never stop yawning when you started to tilt your voice 🤣

[@HoltonJohnson]

I was always taught to think of the beginning if a yawn, so as not to depress the larynx too much. yes? No?

[@josesolayao5019]

excellent , excellent , excellent!! thank you.

[@Delectatio]

Do we have to use the tilt and open space even in the low register🤔? P.S.: some people speaking voices are low but they sing as tenors, some speak high and sing as basses - such an example show that singing voice and speaking voice are two big differences.

[@dreamthedream8929]

actually most peoples speaking voices match their singing voices, especially in opera. because in opera you sing like you speak meaning that you are using your full voice there. In other styles indeed a natural bass baritone such as the singer from bon iver can sing tenor or even counter tenor. If you listen to him speak you would be surprised. In opera he probably would sing bass-baritone. In other styles also natural tenors may sing real low parts. In opera more often than not you can tell who is tenor baritone or bass just from their speaking voice alone. For example Jose here is clearly a tenor, he speaks in a tenor voice or range. Other tenors that he has interviewed here also sound the same or have similar qualities to their voices. Lucas the baritone (the highest of baritones, a lyric one) clearly sounded lower and like a baritone when Jose interviewed him. On the other hand when Lucas interviewed the bass baritone Christian Van Horn there too was a clear difference in the speaking voices which match their singing voices. Christian clearly sounded lower. And there are voices even lower than that, some of the real basses for example that just sing bass. A lot of this depends on the phyisiology of the person, how large the vocal cords are and how much space there is for resonance. This also adds a natural volume to the voice, how big it is. Some of the tallest men on earth also have some of the lowest and loudest voices on earth. If they would be taught to sing opera they would be the loudest operatic basses in the history. Even very tall women can have very low voices, lower than many men

[@Delectatio]

@@dreamthedream8929 "actually most peoples speaking voices match their singing voices..." - didn't read further, since it's exactly what I meant: most, but not all of the people.

[@jefolson6989]

If you learn to.speak correctly you exercises and warm up your singing voice when ever you speak. Ghiaurov was an example . Richard Tuker talked like a baritone. With tenors, most of our singing is higher than normal speech. So a tenor should speak higher. Domingo does this. Many singers who speak incorrectly eventually damage the voice. Usually trying.to speak too deep and manly.

[@dreamthedream8929]

@@jefolson6989 they are exception. Also gregory kunde who sings tenor but whose speaking voice might a higher baritone. Most tenors like José here also speak like tenors. Michael fabiano for example has a classic tenor speaking voice. Not too different from his singing, falls into the same range with some highs and lows just like tenor singing, tenor parts also have many low notes such as in nessun dorma not just high. And for a nice speaking voice it's important to make it deeper and also more resonant. Actually when morgan freeman was asked how to get a voice like this he said what Jose said here, to jawn a lot as that makes your voice more relaxed and deeper and the the deeper you sound the better you sound

[@User1975-]

Sheer brilliance being disseminated! Thank you Maestro.... best wishes from a confused Australian tenor! I am definitely interested in the "merch". I will order soon!! So glad you are finally. funding this "canal imprescindible"

[@davidjoeroy9493]

Thank you so Much

[@davidwalsh944]

I received one of your t shirts for my birthday and like it very much. Great quality. However, what does "hook" mean in the phrase, "Hook, push, pray." The other two, I get. Enjoying your channel very much. Best wishes.

[@Tenor_Simerilla]

@@davidwalsh944 ❤️🙏 it’s a funny known saying in the Tenor world “Hook” for hooking the voice when singing a high note. Not something you want to do 😅…

[@suyaimusic]

Esta es la mejor explicación. Gracias

[@alexestrada.wallypower8rot740]

This video should have millions of views there’s so many voice teachers with more videos and they are less informative. Thanks for what you doing Jose is much appreciated I always wanted to learn opera sounding and I’m learning through your videos god bless you

[@GleamingRake]

1:47 I think a clearer way to put it is that the snarl is a yawn but upwards not downwards. So you open the space in the back of the throat but with more height.

[@Tenor_Simerilla]

@@GleamingRake 💯 🙌

[@GleamingRake]

​@Tenor_Simerilla also a little tip from an italian: the phrase is "chiaroscuro" which would be "chiaro"+"scuro". "Scuro" means dark while "oscuro" is another Italian word meaning obscure, not clear, foggy. So yeah, maybe best to use "scuro"😉. Great video as always!

[@novakastmusic]

Hey! I want to ask, does this help with pop and metal singing? For example if I can't sing a B4 properly yet, but say I can train it operatically, does that transfer if I want to have a more raised larynx belt? When you yelled though you did get a B4 there! Massive respect that you can just do that too 😂

[@downfromkentuckeh]

Maestro, can you do a video on the U vowel? (oo vowel) So many tenors and opera singers of the past swore by its helpfullness, however i have never been able to master and utilize it, as well as the sense of lift in the palatal area.

[@kralvltavin9173]

U (oo) is "duck lips"

[@padlibrary7801]

2024. I can understand this better than the previous two videos as a beginner.

[@needhelp7520]

when you were demonstrating yawning your tongue was pulled waaaaaay back. i find that problem, when i go to tilt/make space/yawn my tongue wants to pull back automatically

[@christinebalboa1115]

Thank you❤

[@Kayfear]

Do you happen to know Jack LiVigni? Because even the way you talk is very reminiscent to Jack, especially when you show “gentle” sound😅 great video btw, thanks a lot!

[@Tenor_Simerilla]

@@Kayfear hmmm…no clue, who is that?…🤔

[@Kayfear]

@@Tenor_Simerilla if im not mistaken he is one of Andrew Owens teachers. He speaks a lot about necessity of larynx tilt and also suggests using short staccato bursts (baby glotals) as a tool to find chord closure in yawn tilted position. I find it somewhat fascinating that you both talk about tenor singing using almost the same language. U discovered your channel recently and binge watching all of your videos. I love your technique and voice. Bravo!

[@Kayfear]

@@Tenor_Simerilla oh my god, did I just miss the “irony” sign? OMG you literally have videos with him, lol.

[@Tenor_Simerilla]

@@Kayfear 😂👍

[@jefolson6989]

​@@Tenor_SimerillaLivigni is one of the great trainers of tenor voiced. Dont know how he is with other voice types.

[@danielschwartz1477]

Suchhhh good info here

[@MaxdeSantana]

hola jose! te sigo desde la epoca de la famosa masterclass, en la que te escuche y te desee muchisima suerte como paisanos que somos!! jajaja, soy argentino tambien, en este tema del "tilt" cual seria la clave para seguir "subiendo"? por ejemplo, yo el fa lo cubro, fa#, sol tambien, pero ya en el sol# pierdo esa posicion de relajacion y "tilt" y ya me estoy volviendo loco jajajajajaja, te mando un gran abrazo!!

[@jonathandawson8818]

I'm a baritone. Can you do videos on that voice type?

[@novellmusicmedia6895]

Im a Bass. I don't think so. Lower voices have a different approach to singing. You wouldn't use a soprano technique either

[@Gopher31]

The technique would be the same but a bit lower. I think it’s incorrect that different voices sing in a different way. The tenor is just more difficult as they need to sing in the passagio a significant amount of time.

[@depressedlarynx]

All male voices sing with the same technique (apart from countertenor). The only thing that changes is where the singer needs to cover/where their passaggio is. A bass will cover around D or Eb, a baritone at E, and a tenor at F#. Physiologically, everything else is the same in terms of muscle activation and technique. Don't listen to anyone who tells you that a bass sings with a different technique than a tenor. Complete nonsense.

[@andreasschwarz4114]

Dear Jose, why do you never speak about: Musculus cricothyroideus Isnt it necessary to know something about it? Thank you! Andreas

[@thanatos4160]

Can you also give some tips about vibrato, good sir

[@halloola3636]

Vibrato just comes naturally when the rest has been mastered...

[@Gopher31]

@@halloola3636I used to try and force it. It does not work! I find starting on a straight tone and kind of relaxing into vibrato to be best.

[@daimong4553]

how to bring 13::07 the tilt sound higher? my limit is G4, or A4 in good day. in other words, how to yawn higher? :(

[@JS64120]

I lost my falsetto after my first time having covid in 2020. The best I can do now is use most of my breath to force one or two low-pitched falsetto notes that sound airy and weak. I have no other signs of damage or polyps/nodules. How can I get my falsetto back?

[@1UShawn]

You need to train the muscles responsible for the falsetto in the chest voice itself; meaning a strong and hooty, dark and deep sound. It most probably has not disapear because of covid and it is absolutly a most to have in order to have healthy vocal function.

[@JS64120]

@@1UShawn Thanks for your reply. Do you recommend any specific exercises?

[@lucaslopespereira4409]

I had the same problem, recently i went to a doctor to see if everything is ok and it was. So i think i need to learn how to work with the muscle again.😢

[@1UShawn]

@@lucaslopespereira4409 a good way is to stop experimenting with bad advices and actually listen to advice that are based on reality. KZbin video on technic being part of the problem. Unfortunatly there is very few teacher that know how to properly exercise those muscles and the greatest of them past away last May. Good luck in your research

[@ИапГоревич]

I lost my falsetto due to acid reflux. The best advice I can get is you should check your ENT

[@crispazag]

Jose, much of what you say coincides with the research of late pedagogue Richard Miller. Have you ever read his book "Training Tenor Voices" and would you ever be open to giving your personal viewpoints on the book in order to spark more conversation on the tenor voice?

[@Tenor_Simerilla]

@@crispazag I read his art on signing book a long time ago, yes. A bit over complicated but very thorough. Haven’t read his training tenor voices.

[@rafalvarezsevilla]

what is headvoice for you?

[@hypercubemaster2729]

There is only one head voice, and it's not the same as falsetto. Head voice is still connected to chest voice, but falsetto does not connect to anything and is not full voice.

[@brywool]

Ok thanks. I am super sleepy now! ;)

[@fn_luxx1309]

Hey I was curious idk if you ever have talked about this before but do you believe in the sayings that 18/19 is to young to have a super resonant and big top voice for tenors? Ive been having voice lessons for about a year now and I keep hearing my professor say that so Im curious to see what you believe

[@williesturner9398]

I can't move my Trill that fast.My voice is too weak.

[@ettoresalucci3189]

Jose però è strano ma ad esempio in un arpeggio o in una scala la mia laringe più facile è che mi si abbassa e resta bassa quando vado in falsetto che quando resto in voce misto testa.. in voce connessa è facile si indurisce la laringe e inizia a salire ... mentre in falsetto mi rimane naturalmente bassa e rilassata

[@Tenor_Simerilla]

@@ettoresalucci3189 molto probabilmente quando tenti di chiudere la corda stai abbandonando la posizione della gola aperta e stai tornando alla normale posizione di conversazione. ecco perché la tua laringe si sta sollevando. nel falsetto le corde sono sottili, passa più aria, meno pressione sottoglottale, questo è ciò che rende il falsetto uno strumento così meraviglioso per sviluppare la voce, dovremmo paragonare la voce piena alla stessa qualità del falsetto. è molto probabile e comune che mentre canti a piena voce le corde si ispessiscono e si accorciano, il che è molto comune quando inizi. ci vuole tempo, pratica e un buon insegnante per imparare di nuovo a fonare e trovare la chiusura delle corde in una posizione laringe bassa. è completamente diverso da come parliamo giorno per giorno. per ora, per ridurre la tensione e lo spessore delle corde quando canti a piena voce, ti consiglio di usare questo falsetto con una posizione della laringe bassa che hai trovato rilassante e gentile con la vocale "u" che inizia in falsetto su un alto confortevole nota e scorri fino alla nota più bassa mantenendo la posizione bassa della laringe, sfumando dal falsetto alla voce piena. (come un sospiro) poi seguire la stessa traiettoria e sensazione dal basso (voce piena) fino all'alto (falsetto) permettendo alle corde di assottigliarsi e allungarsi e rimanendo in quella posizione della laringe inferiore. fallo ripetutamente finché non ti senti a tuo agio e inizi a sviluppare l'abitudine di mantenere la laringe in una posizione bassa. molto probabilmente quando tenti di chiudere la corda stai abbandonando la posizione della gola aperta e stai tornando alla normale posizione di conversazione. ecco perché la tua laringe si sta sollevando. nel falsetto le corde sono sottili, passa più aria, meno pressione sottoglottale, questo è ciò che rende il falsetto uno strumento così meraviglioso per sviluppare la voce, paragonando la voce piena alla stessa qualità del falsetto. è molto probabile e comune che mentre canti a piena voce le corde si ispessiscono e si accorciano, il che è molto comune quando inizi. ci vuole tempo, pratica e un buon insegnante per imparare di nuovo a fonare e trovare la chiusura delle corde in una posizione laringe bassa. è completamente diverso da come parliamo giorno per giorno. per ora, per ridurre la tensione e lo spessore delle corde quando canti a piena voce, ti consiglio di usare questo falsetto con una posizione della laringe bassa che hai trovato rilassante e gentile con la vocale "u" che inizia in falsetto su un alto confortevole nota e scorri fino alla nota più bassa mantenendo la posizione bassa della laringe, sfumando dal falsetto alla voce piena. (come un sospiro) poi seguire la stessa traiettoria e sensazione dal basso (voce piena) fino all'alto (falsetto) permettendo alle corde di assottigliarsi e allungarsi e rimanendo in quella posizione della laringe inferiore. fallo ripetutamente finché non ti senti a tuo agio e inizi a sviluppare l'abitudine di mantenere la laringe in una posizione bassa.

[@ettoresalucci3189]

❤ è davvero un ottimo consiglio grazie mille proverò anche questo, purtroppo a volte perdo la posizione inclinata specialmente nei fraseggi delle romanze quando iniziano nella prima ottava bassa e poi salgono, Comunque cercando ho trovato utilissimo pensare alla chiusura della corda dietro nel momento che essa si allunga e cerchiamo lo spazio dietro e sopra il palato tra le tube di Eustachio e il seno frontale

[@Ricotta_Cat]

I need your help omg

[@simong8527]

Can someone not tilt and mix? Like a pop singer?

[@robflores5172]

not a tenor, should I just leave now?

[@TheBaritonoAssoluto]

Ha, no. Bass here

[@naturalLin]

Tilt is just what happens when you are crying right? U can cry thru the passgio

[@qwarlockz8017]

Now why is it called the tilt? What is tilting? Is that just a euphemism for yawn? The word tilt is what is confusing me.

[@Yves75018]

Hi! Doesn't he explain it precisely at the beginning of the video?

[@niklasdefries]

Alright - the word tilt is litterally a musclegroup that tilts the voicebox. So inside your voicebox / larynx you have 2 key muscles regarding pitch. Don't mind their names. Pitch wise: One pair of muscles inside the vocal chords, shortening the vocal chords and creating pitch. This is mainly for low register and speaking. Another pair is stretching the vocal chords and thus elongating them, tilting the chords, creating pitch - but wait, isn't this counter productive to the ones inside? Yes! Indeed. One tries to shorten the chords, one tries to elongate/TILT them! This is the eternal struggle. That's why one needs to learn how to make them work together. The muscles tilting and stretching the chords can only do so, if we're not holding on to dear life with the ones inside the chords. So roughly put: Only elongating/tilting = very little 'core'/action in the sound. Think head voice, yawning, stretching. Only inside tension/shortening = immense core/metal in the sound and huge cracks when you try to go into your higher register. Think yelling, umpfh, doing a bicep curl. Sorry for the long answer, but there is indeed a pair of muscles tilting the voice.

[@daveliu-jm6oy]

5:00 Ahh kermit the frog

[@rejikuriakose379]

❤

[@TheeJordanRossi]

Quick question, Jose: How would you define the passagio and what are some exercises/methods of finding it? If I slowly slide up on something like "ah", I've noticed that my voice doesn't take on a significant tonal shift until about F#4/G4. Thanks.

[@pawesawicki5921]

3:40

[@blucifa]

💙 🎶

[@sina.faramarz]

🙏❣️

[@RememberGodHolyBible]

Placement doth not bꝛinɡ clarity in the voyce, TA cheſt voice participation doth.

[@RememberGodHolyBible]

You cannot and ſhould not combine the two thinɡs snarl forward placement and open throat. Huɡe open thꝛoat AND cheſt participation is what is needed. Snarlinɡ is foꝛward, forward is constriction. Open, and then vſe the TA muſcles cooꝛdinated with the CT muſcles thꝛouɡh the open thꝛoat. Chiaro and ſquillo is not the reſult of ſnarlinɡ, but by the pꝛoper actiuation of the TA muſcles and pꝛoper cominɡ toɡether of the vocal folds.

[@rexlex1736]

Many talented, successful singers have no idea what you are talking about.

[@flaze3]

I think singing "ee-uh" (1-3,1-5,1-8) up and down your register helps to get this kind of balanced light-dark sound :)

[@Ballistic1115]

What you're saying is categorically untrue. Tilt has absolutely nothing to do with the yawn mechanism-neither CT tilt nor laryngeal tilt. While a lower larynx can contribute to a smoother transition through the passaggio, it's a false dichotomy to claim that the alternative is a "yelly" sound. Yes, a lowered larynx reduces the first formant of the vocal tract, but it's misleading to suggest it's the only way to avoid sounding "yelly." Additionally, multiple studies have demonstrated that the sensation of an "open throat" is counterintuitive. Every opera singer examined showed significant pharyngeal narrowing and epiglottic compression, even when they described feeling an "open throat." While I like the techniques you are showing and agree they aid in the opera sound, I think spreading misinformation can cause a lot of confusion amongst students.