You must make your voice because it will not happen by itself!

[@AdrienneLaVey]

This was so validating. My voice teacher in college was insisting that the tip of my tongue should be pressed against the back of my bottom teeth and when I told her not only how uncomfortable and unnatural it felt, she said, “maybe your tongue is too big for your mouth”. This same teacher was also trying to get me to sing through a straw (which was also very uncomfortable) and lip trills (again, very uncomfortable). Many of the voice teachers at this college didn’t believe dramatic voices were real. I was “diagnosed” as a dramatic voice by three other dramatic voices, so my old teacher trying to shrink and hurt my voice really made no sense to me.

[@Thisisopera]

Straws and lip trills are pretty useful, but most teachers simply have no clue what they are meant to do. They work using source-filter nonlinearity, and they aren't a way to beef up the voice. Have you considered using them in between attempts at the coordination you are going for, and as a way to "cool down" after a session? Because they do really work well for reducing tone in the adductors (by forcing a lot of energy back towards the folds, which closes them FOR YOU more than normal vocalization). You may find you can extend your practice sessions if you bring these back and use them as recovery and reset tools. Think of the stuff you do now as "the work" and SOVTE's as tools that let you work harder and longer. A "dramatic voice" is someone who successfully applies that skillset to their singing and has the physical prerequisites. It's impossible to tell which strategy is best for you ahead of time, so maybe it's a good idea to be a bit wary of fortune-tellers, and also definitely a good idea to always focus on the weakest parts of your skillset in practice, and the strongest parts of your skillset in performance. In our opinion nobody has been able to show a confirmed set of measurements that can accurately predict type (dig into the "studies"!), and nobody has been able to show that lighter voices produce their sound in the same way as heavier voices. So it makes much more sense to assume that the most important differences are not things that happen or happened to you, but rather are things you are actively doing (consciously or not). We have plenty of evidence, all of us, that when we do different things our sound changes, and that we often find out about moves we haven't ever done before. Go with the evidence you actually have!

[@jimmychoo1857]

How are your studies going now? Do you sing somewhere?

[@AdrienneLaVey]

@@jimmychoo1857 I do independent study with my voice teacher of ten years, but since I’ve moved out of the area I’m from originally (where she is) and in light of COVID-19, we’ve been working together on the VoiceLessons.com app for our lessons. She’s doing this with all of her students. I’ve found we’ve made remarkable progress.

[@jimmychoo1857]

@@AdrienneLaVey hope You do progress. I had a teacher before I discovered This is opera and I thought, that it was a great teacher. Then I studied This is opera method and tried it with my pupils and found it 100times better than my former teacher although he brought to La scala several 100%voiceless pupils(he thought them , they became famous with this knowledge).

[@EmilyGloeggler7984]

@@Thisisopera I disagree with using the strongest parts of the skillset in performance. Why not work throughout the entire compass of the voice first BEFORE doing any performance work? I see no justification for showing an incomplete voice.

[@Ekate1]

Чтобы быть великим оперным певцом, вы должны петь с опущенной гортанью и открытым глоточным пространством. От этого ЗАВИСИТ четкость и громкость голоса, так как 95% резонанса исходит от глотки, а НЕ от маски, размещения, головы, ног, ягодиц и т.д. Леггеро-тенор или колоратурное сопрано должны иметь ОГРОМНОЕ, КАВЕРНОЕ звучание, такое же, как у баса или контральто. Конечно, леггеро-тенор никогда не будет звучать как бас, колоратура никогда не будет звучать как контральто, но тем не менее ГЛУБИНА должна присутствовать. И это НЕ то, о чем можно спорить.

[@ransomcoates546]

I can think of one very great singer whose voice just happened by itself - Rosa Ponselle.

[@s7ars14]

Im still in my way to becoming a professional singer, but what I have learned, that the tongue needs to be relaxed, no matter what position. For me with high notes i had the problem that my tongue was always cramped and pulled completely back, basically into my throat. My teacher first focused with me on relaxing my tongue, and now we reimplement pulling back the tongue for opening/sound but without it completely cramping up wich helps a lot in maintaining a full sound in high notes without needing to push so much

[@bassmanxan3544]

I literally JUST tried the tongue retraction thing after being told for so long that I should have it forward. It feels so much easier to produce this way and I feel that it sounds better

[@RinaldoCezarAmawta]

Suoni raccolti, palato molle alzato, E LARINGE LIBERA SEMPREEEEEEEE!!!!

[@Duvet1990]

Thank God I found this channel and a great teacher to help me understand the importance of lowered larynx and retracted tongue. I really wonder why nowadays they let all the singers sing in that weird way and they make us sing like that to mimic their voices. I have had so many tension problems to my throat and larynx because of the tongue tension... thank God now I am trying to fix it... And another thing. At first I had to push with the tip of my tongue the bottom teeth but only to feel that the tongue can lift. After that, around 1 week, I never had to do it again.

[@mathildehb0076]

Certain teachers today are good and others are bad. The bad ones are too many and I have experienced it. Bad singing has ALWAYS existed, good singing still exists today, but when enough people do wrong; wrong becomes right. My first teacher was a dance band-vocalist, but introdouced me to classical singing. My voice did not develop any stamina or debth, because she only wanted to work on my medium register and upwards, without any ground to hold it stable. My second teacher told me to slim my voice, to reach higher notes and my third said: Stop this! Sing those low notes and develop real vocal-technique. His colleague is my choir-master now and she likes to work on timbre, on a LOUD voice

[@jgading24]

What book is that diagram from? Okay

[@thetoycollectorofseville6428]

Can you use opera to learn Italian?

[@afahsieh172]

But you can know some characters by memorize word by word meaning..

[@jocelynen3267]

Opera Italian is poetic and old fashioned, nothing to do with ordinary Italian

[@operasingingtechniqueandpe2646]

It's totally clear that you have to point the sound loudly. After you point the sound forward, you can send the sound forward rather than backward through following these steps. But, if you do the opposite of these steps, you will be doing the total opposite of operatic singing.

[@geminikid1617]

You don’t point, send, or place the sound at all. That’s not how singing, let alone operatic singing works. Idk why people believe these myths

[@mizabmalikrobertwilliam8162]

Can we use Opera as singing Arabic or western. Because many of them are super light , and i want to break their habits of singing like that

[@awokwok1029]

????

[@diy-remont]

sure you can. but be warn that arabic or western style will be less arabic or western )))

[@antonsyd7077]

This is definitely the song for that kzbin.info/www/bejne/j4rEeHaeop2Fjdk

[@Monnarchmonnarchy]

But you guys just sitting on terms. Even low larynx can garantee to you a darkness and real voice. You dont know how to sing operatically how to raise a darkness

[@artdanks4846]

What???