How to Sing Over the Break - Baritone Range
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- čas přidán 7. 07. 2016
- Sing Over the Break
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Learning to sing over the break is a process that goes quickly when you take it one step at a time and work in a systematic fashion. In this video, I take you through the steps that I have found to be the most reliable in helping vocalists learn to make a seamless transition from chest voice to head voice and open up the full range of their voices.
This is a progressive video, so each exercise may take you several days or a week or more to master before moving on to the next section.
If you have any questions, leave them in the comment section below or ask me in person at my live events, hosted here on CZcams at 6pm London time!
As a baritone who used to hate not being a tenor, I'm really starting to love being one! Thank you so much for the education you're giving so many of us!
vocal range can change Nick carter was a tenor than later was baritone I am both ranges
Was your highest chest note by any chance an F4/F#4? (That’s me rn) Give me an update on your progress please 🙏🏼
@@jamiepoems this happen quite often :-) especially Lyric baritones can be misinterpreted often as tenors. The important factors here are: 1. voice color (timbre) and 2. tessitura (range in which the singer can sing comfortably). If the singer is a baritone, he will be able to do this only up to high a, possibly up to b with full voice. However, the voice will not change to the mechanism that allows it to sing a high b or c, since this does not exist in a baritone. This makes it impossible for this singer to sing as a tenor.
@@davida6919 Used to be difficult to do G4, currently am able to hit A4 consistently and lightly. Currently practicing mixed voice, can usually hit B4 cleanly after a couple minutes and have hit C#5 once. Also working on my lower register, Hit a C# 2 the other day, but usually only get to D#2
@@vasst4506that's a good range
Not only are you such an incredible teacher, but your personality is absolutely divine! Thank you so much for this service. Sending love.
Thank you for that! I appreciate it! I do my best!
Brilliant! Thank you Jeff, so much. All of your videos are a gift.
Phenomenal and immensely instructive Jeff. Thanks!
Thanks Jeff, this is really helpful! I felt so understood when you were talking about where my Break is.
This warmup video has become an essential staple every week before my band rehearsals and performances. Thank you Jeff!
Gratzi Jeff. this video is helping me to understand my passagio andassisting in the development of my Baritone Voice
this is so good, fun and interesting, Good work, keep it up!!
This was very helpful, Jeff. Thank you.
Thank you Jeff - your warm-ups are effective and simple and challenging in a valuable way...have really helped my voice!
Hey Jeff, I also wish I'd found your lessons years ago. I sound ok in the lower baritone, but have always struggled with the upper notes in the range. I enjoy singing and playing music with others, or will again when the Coronavirus passes. I'll use this time to practice!
Cheers Jeff, this is something I have always had trouble with ''the break'' but this has helped so much............. Love and peace from Scotland ;-)
Superb lesson Jeff Roka!
Hope you’re doing well Jeff! More videos like this please 🙏
Amazing, thanks Jeff! My choir added a bunch of songs that go above my range, so it's been fun expanding my range.
This is pure gold! Thank you so much!
Fantastic video, thank you
Mr Rolka, you have no idea how much you have been helping me with all the exercises and understanding my voice overall throughout the past 2 years, as an engineering student I don't have much of a network to inform myself about the delicate infos such as the ones you're sharing here online for free, thank you from the bottom of my heart
You're welcome! I am glad that the videos here have served you well! I hope that they continue to do so and you become the most musical of engineers out there! Enjoy!
Jeff
Excellent. Thank you!
Your warm ups are incredible, Jeff! I'm a guy who's only been performing for a little over a year after a very long hiatus, so this is some of the best re-training I've come across. Thanks so much...Keep giving..you're awesome!
Will do! Thanks for watching and thanks for your kind words!
Jeff
thank you! my voice is improving every day
I do your videos every day and am seeing improvement week by week. Thank you
Awesome! Keep up the great practice!
You are great Jeff!
Jeff, thank you so much for providing such great resources for singing. You create some of the better singing lessons around here!
Thank you! I'm glad you're enjoying the channel. Keep in touch! If you have questions, consider coming around to the live events I host on Saturday nights. Here's a link to this week's:
czcams.com/video/LyLNeRzlntc/video.html
Best,
Jeff
I honest love your videos and advice you give. Bless you Brother
Thank you very much! I really appreciate that!
Jeff
Thank you so much mister Rolka !
Really helpful! Thank you for sharing!
thank you very much, your videos are very well explained and your tips fall right into my cup, thank you!
You are so welcome!
Thank you very much for your lessons thanks to them I got rid of the clamp on the top range voice .
Awesome! Keep up the great work!
Jeff
So glad I've stumbled upon your videos. I'm a rock/metal vocalist and super out of practice, but I'm fixing that now thanks to you.
Awesome! Fantastic and welcome! There's a lot in the warm up video department - and there's also an in-progress catalogue for metal here:
czcams.com/play/PL2mQP7sE6PHinNxoJBzPCakFfPrWiTbDE.html
Thank you for watching!
Jeff
@@JeffRolka That's awesome! I'll check it out! How familiar are you with Melissa Cross and "The Zen of Screaming"? If that's outside of your wheelhouse, I totally get it.
new subscriber and I am LOVING your videos, Jeff! Thank you so much!
Thank you for subscribing! Thanks for writing in! Enjoy the channel and keep me up to date on your singing!
Jeff
Thank you so much Jeff, this and other videos I’ve watched on your channel benefited me alot. Keep them coming please.
Thank you Maestro
Don't know how, but it really helped relaxing my shoulders.
your videos help me alot. thank you for doing this
You're welcome!
Best,
Jeff
Thanks.
JEFF that yawn thing was like a lightbulb moment. Thank you so much
I really needed this, thank you kindly...
Wonderful! Glad it's here for you!
Jeff
Thank you, Jeff! You're work and teaching is invaluable to CZcams. Please keep it up.
Will do! Thanks for getting in touch! Thanks for watching!
Best,
Jeff
i guess im asking randomly but does any of you know a method to log back into an instagram account?
I stupidly forgot my password. I would love any tips you can give me!
@Kameron Nelson instablaster :)
@Skylar Kylo Thanks so much for your reply. I got to the site on google and im in the hacking process now.
Takes a while so I will reply here later with my results.
@Skylar Kylo it worked and I now got access to my account again. Im so happy:D
Thanks so much you saved my account :D
Really helps when you used your arm on the up and down.
The yawn muscles!! I am finally getting it!!
Thanks Jeff.
Your are my teacher!!!! My regular warmup.
Thank you so much! Thanks for watching and enjoy!
Jeff
Thank you so much, the video was extremely helpful. I have subscribed, hope to learn more from you ^_^
Awesome! Thank you for watching!
Jeff
Thanks so much man
You're welcome! Thanks for watching!
Jeff
Well done Jeffipoops. Really helping me and get through horrid time. I miss me, my family and actually singing. I want all urgently back. I have subscribed and am very grateful.
Andrew. Ex St John's Cambridge.
Sent Pre edit. No offense only affection meant. I enjoy you and
your care.
All good! I hope that you get through this period as best you can, and find yourself again with family and plenty of singing.
@@JeffRolka
Thank-you!!!
Much cheered.
Hurting a lot. This helps.
I'll try not to be shy when I switch into your v helpful warm up guidance later today.
At St John's we worked HARD on pronunciation. Trying hard to see family, so hard and it's made Christmas, which I adore the build-up to, horridly painful for years, a lot of years, trying hard to secure one at last starting next days, seeking help daily,
but there is a 'George Guest, CAROLS FROM ST JOHNS ('86 I think, I as a boy left '78),
we don't do Christmas,
that's for 'down the road'(King's).. But.. There are two Welsh carols, Welsh pronunciation perfect.. Gift to you.
Walton Chichester Service Nunc Dimittis is good, good organ, wrong but nice director *, nice bass bottom e at the end.
Your attention on camera is such comfort while one feels sore,
like a balm.
When I've my friends back again,
I MIGHT... look them in the eye and say ' sekondo persargy-o.'
We'll see.
Really, thank-you.
From Pimlico Road square, Blessings back round the Globe.
Andrew W.
* C Robinson. NAXOS. version. - Silly label and record (and other pieces direction - Nunc better than Nethsingha one)
Awesome, Thx!
عکسهایی 3
Jeff you're the fuckin man. Best vocal coach on CZcams, hand's down !!
Thank you so much! I appreciate that!!
Jeff
Dude is out here just doing God's work and it's free for anyone to watch. I've been singing for the majority of my life and to be completely honest, I've learned more from this dude than any vocal teacher I ever had.
Thank you so much for that! I really appreciate it! Keep singing and enjoy the channel!
All the best!
Jeff
YES
wish I'd come across this 20 years ago..hopefully its never too late
Never. Today is a good to study our voices.
Jeff
The best time to plant a tree is 25 years ago, the second best time is right now.
You are great. I will like if you can use a video camara to see the piano keys. 👍👍👍
Definitely want to expand to that. Editing time takes a lot though and I've been having a difficult time keeping up the last few months. I will try to do that again though!
Jeff
Jeff, your lessons have been my main exercices for years here in Brazil. Thanks a lot, your work is great! I have a question: These exercices on this video I should do even without warmin up the low notes before?
Thank you! Thank you for watching! You might want to pick another video to get started with, then work on this video to work on the break.
Great question!
Jeff
Hey Jeff, thank you very much for these great exercises. I'm really starting to feel the difference between the upper and lower register.
A general question, I have trouble applying this break when singing normal songs. What do you think is a healthy schedule for practicing? 50 % exercises 50% song work?
You're welcome! Thanks for taking the time to write in. Great question!!
I think starting off 50/50 in terms of your practice is a really great idea. I would try it for a couple of weeks and see how your voice develops. If you're satisfied then keep going! If not, I would ask you to try to observe what it is you're dissatisfied with. Not enough overall progress? Try a couple weeks where you focus a bit more on technique. Not learning enough music? Adjust to work on a greater volume of songs. Songs that you're singing not sounding as good as you think you can sing them? Deconstruct them and apply the vocalizations to the melodies in your song; in other words, turn the songs into vocalizations. In this scenario you'll probably do a little less pure technique.
This is a really good question. I'll talk a bit more about it on Saturday at this week's live event. Here's a link:
czcams.com/video/ueLJ4Fxbd1o/video.html
All the best!
Jeff
Jeff, thanks for the informative video. One key thing I picked up from it was you're discussing "narrowing" the range of the passagio using the triad exercise. How narrow do you feel the range should be? Would you say that when singing an ascending scale, there should be a particular pitch where you would switch to a head voice, or would this occur over a number of pitches?
Hello! You're welcome! I will address this more at this weekend's live event, here's a link:
czcams.com/video/_VSqMGvB964/video.html
In short, however, I think that we may have a misunderstanding. I am not suggesting that the overall range of the zona di passaggio be narrowed, but that in switching from an octave arpeggio, where the secondo passaggio is between the fifth and upper tonic of the arpeggio to an arpeggio that only ascends to the fifth, where the secondo passaggio is between the third and fifth that the area within which to make the adjustment from thyroarytenoid dominant singing to cricothyroid dominant singing is narrower in terms of the interval between the two notes.
There will ultimately be a point where the transition is optimal though you may feel the slight shifting over a series of notes in proximity to the secondo passaggio.
I hope that helps!
Jeff
Hi Jeff, I just found your lessons and find them really useful. Thank you so much for sharing your knowledge!
One problem is I have very thin lips and find it difficult to make lip trills (I can only keep it up for a very short time). Any tricks available?
The amount of flesh can make some amount of difference, but the lips trilling is more indicative of how you're using airflow. I have a free method at my website, www.jeffrolka.com that goes through the process of developing a lip trill at length. The method is free, you just have to sign up for the email list.
You may also take a look at my video, 'The Lean' which can help with developing the kind of consistency of abdominal engagement that can make the lip trill more sustainable. Here's a link:
czcams.com/video/GOsQvyGXNik/video.html
Let me know your progress.
Jeff
Excellent, I'll try both of those tips out. Many thanks for the quick response! :-)
Jeff: Can you please spell out these words so I can look them up? Secundo fasagio? Pharoid dominant? Litinoid dominant? Thanks.
hey jeff!😊
I'm so glad i discovered your channel... it helped me alot!!! thank u sooo much!!! so well I've got tons of important questions here so PLEASE ANSWER THEM!!!
1. to get that "hollow" sound... r u saying that i should lift my soft palate? or just lower my larynx? or both?
2. Should i lift my soft palate only while singing in head voice or should i also lift it in chest voice?
3. while singing in head voice should i put my sound at the back of my mouth or should i also put it in a forward placement like in chest voice?
4. in the exercise should i use my head voice per top note or only when i feel like it?
Hello! Thanks for watching! I'm glad the videos are helping!
Great questions. Let's take them point by point.
1. lifting the soft palate will help with the resonance, but you will be more immediately successful with a neutral or slightly lowered larynx. The main point around the hollow sound is to help differentiate between cricothyroid dominant singing (head voice) and falsettto tone production. Falsetto tone production in the range in this video will be much, much airier than cricothyroid dominant singing.
2. Varies by genre. Does vary by where you are in your range, but it's more a question of how much lift rather than to have it or not.
3. Either of those extremes will result in a sound that is affected sounding (at best) or undesirable (at worst.) A balance of placement of each is what is typically sought after. It varies by genre...
4. For most baritones it will be the top note only, but this video is meant to be usable by a variety of baritone voices and the secondo passaggio differs slightly between them. The top note or possibly the top note or two in most exercises will be above the secondo passaggio.
Great questions!
Jeff
Jeff Rolka i kinda don't understand that hollow sound part.
so ur saying that to get hollow sound you must make sure that your larynx is neutral or lower and that the sound you're creating is not breathy?
Okay, bear with me for a moment here:
The hollow sound is the result of allowing the cricothyroid (posterior and anterior) muscles to rotate the hyoid cartilage and elongate the vocal folds.
If we remain released enough with the thyroarytenoid muscles the vocal fold will remain adducted.
Now, in english:
The hollowness is an insurance policy. The neutral or lower larynx position is about airflow far more than the sound of your voice. We want to make sure that we're not breathy because that would indicate a vocal fold abduction (separation.)
So....If the larynx is neutral or low we'll have good airflow...this generally results in the thyroarytenoid muscles having more release than in someone's voice who has in the past tried to 'squeeze out' high notes or had some vocal strain in the higher notes...those two things make it more possible to allow the cricothyroid muscles to elongate the vocal fold and if we're hollow (read: not airy) then the vocal fold is remaining adducted. Voila! Our upper register is now ready to start being integrated into our practice. At least the gross manipulation of it.
Once this is reliably mastered and the transition point is stable you can start matching resonances across the secondo passaggio (break)
Best,
Jeff
Jeff Rolka wow... thanks i totally get it rn😂
I find the top note on the last exercise video feels ok and easy.... also the sensation that it is being produced by my thyroarytenoid, could I be somewhat of a tenor perhaps? when I use my cricothyroid for the same top note it feels weaker and more of a separation. what to do? can I pay you for a zoom? Thanks for the vids so far.
If you haven't used your cricothyroid dominant singing voice much, or specifically in this way, then it can feel rather weak. This is in no small part due to any strain you may have felt squeezing out notes using the thyroarytenoid dominant singing voice. The lack of that muscle tension will feel different. The key is that it not be airy. If it's airy, the vocal folds are separated too much, and that won't practice into a consistent registration event where the tone is the same.
Sure, Zoom or Skype is possible. Get in touch via my website www.jeffrolka.com/connect-2
Reference this comment thread so I recognize you.
All the best,
Jeff
As a baritone and vibrato singer, I've been often treated as being rude throughout my adult life. I have to mimic a boyish voice in order to be accepted in a chat room or singing room on the Starmaker app. It takes a toll on my vocal chords. But I have to do it to be accepted. Good one.
I'm sorry to hear that. Enjoy your voice! I might suggest finding other chat rooms that appreciate those low tones in an appropriate way!
Is it fine to get partially nasal at "May"?
What was the high note on the last exercise?
can I send you an rezistration with my voice? I don't know what type of voice I have my comfortable low note A2 and I get to G2 sometimes and to F2 but I force myself again on the chest voice if I scream C5
I have trouble singing in with full tone in that break. I do fine with lip buzzes or humming or lighter tone warmups. But no matter how hydrated I am or good I am about avoiding stuff like caffeine that is bad for your voice, I can’t sing more then a few phrases before my voice dries up and starts to have vocal fry. What can I do?
Without any further ado at 2:39 😉 Thanks Jeff! 🐯
09/11/2022
06/06/2023
08/01/2024
10/05/2024
my front teeth are broken so lip trilsl are impossible lol but helpful nonetheless thanks jeff for all you do
Ouch! I'm sorry to hear that! Thank you for your kind words!
Best,
Jeff
Hi there Jeff, from Portugal!
First of all thank you for the amazing free content.
I had just written practically a book explaining my vocal history to put things a bit into perspective but I accidentally erased it and I think it was actually for the greater good lol
I am 21 years old and I think when I train classically like I intend to I would either be a Dramatic Tenor (more likely, in my opinion; a lot of people label me a baritone but I just don't hear my brassinness and brightness even in lighter baritones) or a Lyric Baritone (in which case both my lower and upper ends are truly nothing special) . I have one question that I feel maybe could be key. How does it actually feel like physically when singing above the upper passagio, even support-wise? I feel like I simply do not possess the elusive "voce piena in testa" because I've never been able to sing like that, I have a good head voice extension (some would call it falsetto but I don't, as I can sing an F5 with enough power and resonance to cut through a small orchestra for example, and I refuse to accept that as falsetto - it follows that I don't consider what operatic countertenors (not sopranists) do falsetto, at all) and when I sing in it, I can very easily feel the head and face resonance and shift it, as I can the support and some parts of the vocal tract to produce the sound I am aiming for at the moment. However I've literally never been able to feel that when singing above the upper passaggio, even with teachers, it always feels like I'm applying a ridiculous amount of support so as not to flip into falsetto and basically shouting and dragging my lower range muscles as high as they can go (sometimes even high C), and sometimes I would come back sore from lessons. A teacher I recently had insisted that the hoarseness was due to me not being used to sing that high without falsetto, but the sound I was producing really sounded like yelling, vibrato-free, and overly bright and harsh.
So I wanted to know if it's possible to have a large countertenor range (mine is D3-A5 to B-flat5 in pop, and something like B-flat3 to G or A-flat5 for classical singing in that range) and not be able to connect that to the lower range sound, as my lowest musically useful note in "chest" in operatic terms is an A2 - which I don't feel is very relevant to the fach as I spent all my teenage years forcing the lower register to develop and rarely singing above a D4 - and the highest I can (somewhat) comfortably sing in that same voice with enough quality for classical is E4, but even that is a bit strained if I am not applying great technique. Besides that, I'd like to know how the "voce piena in testa" generally feels like, because I don't think that's what I was doing with the teacher regardless of her telling me it was.
I ended up still writing a huge amount of text, but oh well...
Thanks in advance and keep up the good work helping singers who don't necessarily have the means for intensive training with a teacher.
Cheers!
Hello!
Thanks for writing from Portugal!
It's hard to say what could be happening for you and it's also difficult to know what context some of the words you are using I'm meant to interpret. The word 'falsetto' for example, is used among vocalists to mean a variety of things, many which contradict one another.
Here's how I can help though.
For one, it shouldn't hurt like that and you really ought not to leave your lessons hoarse. In working towards a competent voce piena in testa that never occurred for me and has not occurred in my students. If you are pushing your thyroarytenoid dominant singing voice (chest voice) as high as c5 it's no wonder you're getting sore. Especially if you think that you are a baritone vocalist.
Singing voce piena in testa honestly doesn't feel like much at all. Generally, if you feel something in the aural cavity you're almost certainly holding onto some muscle tension that is reducing resonance and hence reducing the effect of 'the sound of chest voice in head.' My advice would be to focus on temporarily over-balancing the cricothyroid dominance (resulting in a hollow or hooty sound - again - temporarily) in order to generate more release of the vocal fold mechanism.
While cultivating that release practice your appoggio breath management in order to have more suspension of the air column. Initially this can feel like a tremendous amount of force but with practice you'll eliminate the musculature that is unnecessary to proper singing and it will feel firm and persistent without being over bearing or like you're trying to ward off a gut punch.
My sense from your message and studies is that you would probably benefit from getting Richard Miller's book Training Tenor Voices. It systemically goes through the physicality of singing in both artistic and objective muscular definitions and diagrams.
I feel I must warn you, the book went out of print some time ago for some reason but you can still get copies, they're just really quite horribly expensive. That being said, when I bought it I still paid a hefty price and it has been worth ten times that.
I want to be able to wrap up your question in a way that gives some closure but I feel that the best way for you to find your way to your best voice will be with a resource that will almost assuredly validate some of your beliefs as well as challenge several others. Here's a link:
(I don't know if you use Amazon or not, but I searched Google for Amazon's presence in Portugal and apparently many folks use amazon.co.uk, which I have done here. You can always take the data and search in your preferred book seller. Just in case you're wondering, I am not affiliated with Amazon. I was for about two weeks, but they dumped me! :-( )
www.amazon.co.uk/Training-Tenor-Voices-Richard-Miller/dp/0028713974/ref=sr_1_fkmr0_1?ie=UTF8&qid=1507605919&sr=8-1-fkmr0&keywords=training+tenor+voices+richard+miller
Best,
Jeff
Thank you for the extremely encompassing reply, it is invaluable to be able to ask someone who truly knows their craft and get such an extensive answer for free. Unfortunately all my experiences with singing teachers here in Portugal were horrible.
You make an excellent point about terminology, sometimes it creates a lot of confusion. I actually went on to read about it and was surprised to find out that even a mezzo high note sung by a male, with proper ring and projection, is considered a reinforced falsetto by most scholars. It may be what I'm using when singing in that range, which is personally shocking since I always judged falsetto to be a smallish, "fake" voice with barely any carrying power. For example, Phillipe Jaroussky does sound hooty and relatively small when approaching the lower ranges, but the sound is still completely different from the likes of Chris Martin from Coldplay when singing high, and I always thought it was not just a matter of support and resonance but one of different vocal production at the core.
I actually have heard about that book and read some of it, but I was wary of following this method since, as I understand it, Miller advocates a breathy, "true falsetto" sound, which in my mind seemed impossible to connect to the lower ranges, but now I will try it with confidence. In fact, I've been using your excellent warm up videos, but the alto and mezzo versions, since I feel in my case it's much gentler on the voice (my chest dominant muscle has, over time, developed a horrible memory of tension, so it actually tires me out to do a baritone warm up, for example; one could say I'm essentially already applying the Miller approach, but there's a difference in the way I do it which might be of importance. When using your videos I do sing in what most scholars would call falsetto, but I avoid the hooty, breathy tone at all costs by using mouth and (sometimes excessive) nasal resonance coupled with increased support when the sound is too small. It's not uncomfortable in the least, whereas when singing with a breathy and disconnected tone I feel like I'm not doing much in the way of "waking up" the cords and additionally sometimes it feels tiring.
By your explanation I gather that that's a good way of getting rid of the throat tension associated with chest-dominant musculature, so I will keep on doing it.
Thank you very much for taking the time to write such a thorough reply.
Best
Hey Jeff! I have two quick questions. The first being, are the exercises you demonstrate for working to smooth out this “break” also what you use to practice using your mixed voice? Additionally, when I am gradually ascending while humming/bubbling my lips, should I stop when I have to slip into falsetto? Or is it alright that I am slipping into falsetto when I am reaching notes that are “too high” for my head voice? Thanks so much!
Great question:
the 'break' is the secondo passaggio. The definition of 'mixed voice' differs depending on what school of voice you follow. In my teaching, mixed range is the space between primo and secondo passaggi. In order to effectively sing over the secondo passaggio and establish voce piena in testa (what most folks would think of as 'mixed voice) one needs to make an effecient transition from thyroarytenoid dominant singing to cricothyroid dominant singing. In order to do this the vocal folds must elongate and remain adducted. At no point in this video where this comment has been left should falsetto be necessary. This is falsetto, as defined by a partial abduction of the vocal fold accompanied by some dampening in order to sing the notes at that register.
I am sorry that this answer is so technical, however, I feel that in order to address the specificities of your question accurately, it is necessary to use the terms as they are in the pedagogical texts.
Best,
Jeff
Hi Jeff, I've been singing in bars for 25 years. Always hard to hear yourself properly so you yell. I want to increase my range ( including falsetto low E to 3 octaves up to high E) I have not been singing for awhile and have never been able to go past G in the 3 octave because of yelling and no real training. From about my G below middle C I have to push to get the notes but then I'm yelling and lose my voice. Any advice to help me get through my breaks smoothly and finally be able to access all 3 octaves? Any advice is appreciated. Thanks for your time.
That was very helpful for thanks Jeff, but I have one question. First, I noticed that my chest voice and head voice are pretty clean. But the problem is, the passage part from chest to head voice, even though it feels right and healthy, still sounds like a teenager voice. It feels like it's a mixed voice, I can hear chest and head voice inside of it at the same time and it's not a beautiful to hear them together. Why is that and what should I do to make it better?
Really hard to say, I'm afraid. 'Sounds like a teenager' doesn't really tell me much about what is happening. We'd have to work together for me to be more specific.
Best,
Jeff
Jeff .. i can't find your appagio video u mention here 😭
Here you go:
czcams.com/video/wBpta5StxHA/video.html
Enjoy!
Jeff
Jeff, you have a lot of warm-ups for baritons on your channel and I don't know what to choose :) I can't do anything at once. Can you help me with this (stupid, probably) question?
Hello and thanks for your comment! I know, the channel has grown and grown. There are a lot of warm up because there are so many different needs of various vocalists. A good place to start is here:
czcams.com/video/Z2KmNhXGmIM/video.html
Covers a lot of information and is a solid, progressive warm up.
If you go to www.jeffrolka.com you can get my guidebook to my CZcams channel. I wrote it to help people that use the channel more easily find the videos that address what they need to work on and put work flows together.
I hope that helps!
All the best,
Jeff
Do you have any Bass-Baritone videos!? I'm really trying to be able to sing the Verdi baritone rep, but I've got tho get a grasp on the obviously higher tessitura...help?
Not specifically I'm afraid. It's something I keep meaning to do. You can, of course, use the baritone videos as they should cover the tessitura you're working on, but your secondo passaggio would be in a different location. You might also check the Speed and Agility Playlist:
czcams.com/play/PL2mQP7sE6PHhpB0iWGsNgsH_97owSCscc.html
to see if there's something there that would help the cause. Let me know if this helps. My equipment is currently being shipped but I can do something once it's back (and tuned...which will have to wait a week or two...)
Thanks!
Jeff
Hi Jeff, i'm not sure if im a tenor or baritone. I mean my vocal range is E2-G4-B5. My voice cracks all the time when i go up to A4. But i don't think that my voice sounds like a baritone and i also know that range doesn't determine voice type. I really have to learn my voice type so i can work properly. I will be grateful if you answer my question...
Thanks for your question. Finding your secondo passaggio will be key to understanding more about your voice and what your fache (voice designation:tenor, baritone, etc.) is. This is often called the 'break.' The cracking in your voice is almost certainly due to imbalances in the airflow and vocal fold engagement you're using. Balance those, find out the naturally occurring register transition (secondo passaggio) and that will help you understand more about your voice. If you do that, you can begin to balance out the entirety of your range which will further reduce cracking and also inform what your fache may be. That being said, different schools of voice will categorize voices differently. There isn't a universal standard. In one school, you may be considered a tenore leggiro; another a baritone; still another may call you a baritenor.
All the best,
Jeff
You're welcome! Thanks for joining the discussion around this topic!
What you're describing around C4 is the general area that the primo passaggio for male vocalists begins. It can vary by a major second in either direction quite easily.
The key to determining the location of your secondo passaggio lies in the tension you're describing. The challenge, however, is in avoiding the tension. To find our secondo passaggio we have to approach the zona di passaggio with a balanced vocal production and a willingness to allow the voice to do the naturally occurring transition between registers (some call this flipping over or other such things.)
That is best achieved by practicing narrowing exercises on descending arpeggio and scale patterns and conversely practicing ascending patterns with a bit of vowel modification (often in my videos referred to as 'widening.')
By practicing both you'll narrow down the transition point to within a half step. Keep in mind: our voices are not built to adhere to the tuning system of Western Tonal Music. In other words, your actual register transition can be between two notes on the piano, rather than specifically on a note.
Let me know if that answers your question. Feel free to join us tonight at the live event to ask for clarification and get some demonstrations. Here's a link to tonight's event:
czcams.com/video/pDDuU-mge0c/video.html
Best!
Jeff
Bbbbbbbbberrry good lesson !!! 😉 🤙
Thank you!
Jeff
Jeff I have a little problem in my range, I am a bass singer and my range runs through Eb2 - D#4. Can you give me tips how can I increase my range more?
Assuming you have good airflow and vowel alignment in the thyroarytenoid dominant singing voice (chest voice) then perhaps check out this three video series I did:
czcams.com/video/erFjTGWia5U/video.html
that's a link to the first video in the series. Parts two and three are linked in the annotations.
I hope that helps!
Best,
Jeff
Jeff for the exercises are you hollow on the top note for each scale degree set of notes?? Or just hollow for the first one or two highest sets?
You have to gauge it based upon how your voice operates. For some vocalists, it may only be the top note, while for others, the top two or three in the highest keys may require more of the hollow-ness.
I hope that helps!
@@JeffRolka okay I see what you’re saying just have to gauge it on what feels best for my voice
Any advice for Baritones training to sing Tenor? For example, habits i should pick and choose, exercises..?
Focus on your secondo passaggio. Have a concrete understanding and practice of appoggio. Then go forth and masquerade as a tenor. It is a time honored tradition!
Best!
Jeff
Jeff Rolka thank you!
Ничего не понимаю, просто повторяю)) прикольные упражнения))
Fair enough! Enjoy the channel!
Jeff
My vocal range is from D2 upto B4 (without falsetto) and I don't know what am I, baritone or tenor
It's a bit more complicated than that, have a look at this:
czcams.com/video/P91MkMUGjMQ/video.html
wich video can I use to warm up my falsetto if goes from F4-Eb6, full voice is from F2-E4
You can start with this:
czcams.com/video/gFjyr1bo8SM/video.html
and use any of the other ranges to cover the extended range up to Eb6.
Enjoy!
Jeff
Do you have any lessons for contraltos? I'm using your baritone and alto.
The tenor warm ups are just about identical to that range. You might try those instead of the baritone videos!
I will look into it though, and give some thought to a few videos that specifically address the challenges of that fach subset.
Best!
Jeff
That would be brilliant. My range is C3 to F5 so the Baritone is low enough but not high enough and the Tenor isn't high enough so I have to go to the alto.
I'm gonna be honest, Jeff: I have *no* idea on the vocal chord anatomy you are speaking of, throughout the video.😂
Am I missing out on crucial skill improvement, by not knowing these things?
Maybe. It was crucial for me, but it could be different for you. Imho a little knowledge and understanding rarely hurt though...
If my top note of the second passagio is above E4 am i a tenor?
that's right at the cusp of tenor/baritone land. Depends a bit on the school of voice that the teacher is from. In my studies, could be either depending on the other qualitities of your voice!
Best,
Jeff
I love you Jeff... I tell everyone how beautiful you are.. I like spreading my love too..
Thank.. Singing over the break. Singing in key.. Finding out what your range is? I bought your guide..
Thank you Jeff
Thank you so much! Big Love right back at you! Thank you for buying the guide! I truly appreciate the support!
Jeff I have a problem
I have huge problems with my placement
I try to let go of my voice but I still get raspy as I sing nearer to the transition point and my larynx hurt
It shouldn't hurt. Reevaluate your airflow/engagement. If it hurts, stop, reevaluate and try again. Narrow your range as well.
Best,
Jeff
Hi my range is C2 to A4.... from A4 my voice switches into a mixed voice.... also for certain songs sung by tenor vocalists i transpose down by 5 semitones in certain extreme cases... is it a bad thing to do?
Not at all! Moving keys to account for our individual differences is common. Great work! Thanks for taking the time to comment. If you have other questions, join me at a live event. They're every Saturday at 6pm London time. Here's a link:
czcams.com/video/ECluCLmiNuE/video.html
Best!
Jeff
Hey Jeff, great video, i have a question, at 4:49 that first note you sing, i try (doing the same lip rolling technique (sorry dont know what its called)) it and i can land the first one, with a bit of strain, but then when i rise back up, i cant hit it again, what note is it exactly, does that mean it is my break point, and i also wonder, will overcoming it give me only one slot of note, like ill just be able to sing one note up, or in general by unlocking and being able to sing above that break i will unlock another variety of notes, i am sorry if my question is foolish, but i wonder these things
unless of course i am meant to falseto it, which is not what i am doing, i still dont really understand if there is suppost to be a "voice type" in the middle of chest and falseto
Hello! Sorry it took me so long to respond to you; your message was filtered for some reason...
When we ascend, our old habits, usually squeezing for high notes, get activated which is why you may not have been able to sing the same note that you started with when you try to ascend back to it.
Try to notice, internally, what the note that you're starting on feels like and maintain that feeling as you attempt to go back to it. If it is a little on the hollow side, that may help in the beginning. Think more open; you can narrow it once your larynx is stable, which is what this is all about.
You will gain several notes, about five give or take, once you learn to sing through the secondo passaggio.
Best!
Jeff
Jeff Rolka thank you, that is exactly what i wanted to know!
Excellent. Thanks for watching! If you leave a comment in the future, and I don't respond within three or four days hit me up with the question on twitter @jtrolka. I really try to get to all the questions on the channel but the filters are occasionally a bit over-active, which is to say, they filter messages for some random reason.
All the best!
Jeff
Thanks, whats the passaggio link? I didn't see it in the video.
I apologize if I missed inserting a link. This video deals with transitions through the passaggio, what is it you're looking for?
Best,
Jeff
Oh I see you said appoggio and not passaggio, I got those mixed up. I believe I found the video you were referring to. Thanks!
Okay! Cool. If I can be of assistance, leave a comment or join me at my weekly live event. They're 6pm on Saturdays (London time) Here's a link to this week's event:
czcams.com/video/2j4edopDyms/video.html
Best,
Jeff
I feel the larynx muscles and i can feel/see my larynx go down when i exercise, but when it comes to actually making sound while using those muscles, not only does my larynx go right back up, but my voice sounds strained again.
Any advice? I'm really at a loss
If you mean that it goes down or stays neutral when doing exercises, but not songs, try doing your songs without any consonants in the lyrics. In other words, create a middle ground to bridge the gap between vocalizations and singing songs. Practice that way and then work to maintain the physical feeling of the larynx in the neutral position while lightly adding the consonants back in.
Jeff
@@JeffRolka great advice, thank you!!
if baritones train well, they can sing like an tenor without only belting high notes?
With good technique and careful consideration of tone quality baritones can navigate their registration events as seamlessly as tenors (or any other fach for that matter). In so doing baritones will gain enough range to 'masquerade' as tenors for most practical purposes, but anything that extends beyond the tertiary registration event for baritones (usually around a4 - give or take) would become rather challenging to say the least.
I hope that helps!
Jeff
Thank u, Jeff:)
I really really need help..
I'm worried to my range..
I'm in a Baritone range..
G2 - G6 upto A4
But i sound too nasal..
My breathing is also terrible..
I barely support those notes.
I always strains..
Now when i'm singing
my throat easily to dry
and pains.
It really ruined my voice
If you're finding that your voice hurts - stop - and evaluate how you are doing the exercises. Limit your range and focus on vowel formation and connectivity before trying to ascend across the registration events.
Jeff
I’m too i’m baritone colorature, my vocal range: A2-C#7 and my passaggio is so hard...
1:25
I think im a tenor , ora baritome going to a tenor >.
6:30
this hollow sound you're referring to sounds a lot like connected falsetto or the sound a grown-up man can do when imitating a female voice, is that it?
Hello Edwin! I have tagged a post below by MR PROTAGONIST RATER that explains the concept of what we're looking for. I suppose some may choose to call it 'connected falsetto' but that is a fundamental misuse of the terms related to the actual structures creating the sound.
thanks i'll check it out
ok done it, but one thing i'm failing to get is how is that sound is supposed to transform into a regular sounding voice from the mickey the mouse voice? and in that post you talk about "matching resonances" which if i'm not mistaken suggests that it's a resonance issue
your a saint Jeff
Thank you for your kind words! I really appreciate that! Enjoy the videos!
Best,
Jeff
will this help increase my range without going into falsetto
It depends entirely on how you practice it, but yes, that is the idea!
Jeff
@@JeffRolka Thanks Jeff, I really want to be able to hit the higher notes without going into head voice. Do you have any advice for achieving this?
Hi Jeff. I'm not really connecting with your adjectives here. What does "hollow" and "narrow" mean in this context? Your tones merely sounded higher pitched and lower pitched to me. I cannot detect any change in tone quality. Is the point of this video to train yourself to lower your larynx during upper register singing?
Thanks for your comment/question here. This is an indication of my change in perspective over the years. Basically, I'm not being obvious enough in my demonstration notes.
Keeping the larynx lowered is definitely part of the practice involved here, that is why the tones above the secondo passaggio sound somewhat hollow internally. When we are new to crico-thyroid dominant singing the nasal pharynx resonance and lifting of the soft palate in the aural cavity creates a lot more space. That space almost always create a sound (internally) that is very open and hollow sounding. Some may call it open.
The narrow sounds are to be executed below the secondo passaggio (break). The word 'narrow' in this context is meant to indicate a well balanced thyro arytnoid dominant vowel sound below the secondo passaggio. For one new to these exercises, you might think of it as speaking on pitch. The idea is to release some of the thyro arytenoid dominance in anticipation of the transition through the secondo passaggio (break). That release of tension makes for a smoother transition.
I know that there is a lot of anatomy mumbo jumbo in this response, but you've asked a savvy question and it deserves an answer that is as accurate as I can make it. Practically speaking, however, I will demonstrate the sounds that you're meant to create in this week's live event. Here's a link:
czcams.com/video/pDDuU-mge0c/video.html
Thanks for a great question and thanks for watching!
Jeff
Thanks so much, Jeff. You're awesome!
You're welcome! I do my best. :)
Jeff
Isn't this about the primo passagio?
No, the 'break' typically refers to the secondo passaggio.
Jeff
My primo passagio its in C4 and the second around f4 and g4, i am a baritone or tenor?
Thx