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Hey, my name is Sam Johnson and I am a voice teacher
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I'm going to be reacting to and analyzing Sierra Boggess and ramin karimloo singing Phantom of the Opera
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In sleep he sang to me
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in dremas he came
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that voice which calls to me
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and speaks my name
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Nice so she's singing a song that's generally done fairly classically
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But she's letting it move down into her chest voice
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That you can still sound like the classical singer if it moves into your chest voice
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especially when you're doing
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Classical ish musical theater type stuff
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and do i dream again
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for now i find
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She's lightens up like crazy at the top
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the phantom of the opera is there
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How she pronounced that phantom (fon - tum) the Phantom of the Opera that's one way to make things sound a little bit more classical
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so if she went the phantom of the opera
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That's not as classical sounding traditionally as the Phantom of the Opera it it almost sounds more pretentious
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But that's kind of what they look for
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inside my mind
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sing once again with me
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jeez so much pain to his voice
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our strange duet
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my power over you
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grows stronger yet
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and though you turn from me to glance behind
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the phantom of the opera is there
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So now we can contrast how he said it compared to how she did when he said it he went the
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Phantom of the Opera the resulting sound was a little bit more straight tone
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It had some whine to it a lot of ping
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He has a lot of vocal cord closure in this it's not a super light sound. It's very forward
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It's together. He's not wasting very much air at all. And the vowel is helping him get that kind of ping
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It's it's almost creating a Bell type shape with his mouth rather than just ah
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It sounds more like a horn when he does it like this
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To be honest, though
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I actually kind of like how he's doing it and I think that the classical world is moving towards that
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where they aren't afraid of
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Having a little more presence in their sound and a little bit more ring. The classical world isn't all about backspace anymore
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Those who have seen your face
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So this is softer than the last time he was singing
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It's not like coming in really really hard, but it still has the same amount of vocal cord closure
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Which results in the same sort of tone?
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It's not like this part when he goes to a softer volume ends up being completely out of the piece
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it sounds like it's consistent with the rest of the piece because he's keeping his vocal cords together at the same amount and resisting the
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same amount of air
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My
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That sound as a traditionally
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Classical soprano sound it's a very round vowel
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it's fairly open because at this point in their range, they're just tracking a
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Fundamental harmonic, they're not trying to do a higher overtone. It's just fundamentals and
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Finding that round very open sound is good for that. It's the same reason that people pull chest voice up
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It's just tracking it at a different point
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So it's interesting to see her go to this place this very round classical place. Where through the rest of the song
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it's been classical and
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Round but it still has had a little bit more vocal cord closure a little bit more
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Hang on when she goes to this voice. It sounds almost like a separate voice up at the top of her range
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The effect is just a very traditionally sounding classical sound
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Actually as she keeps going I she has court closure through that she's not just leaking a ton of there
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I think that she could connect that back down to her chest voice. She's not giving a ton of cord closure
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It's a very small thin sound but it's definitely together
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she spent a a lot of time stand up there
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It's a lot of time spent up there and usually if you spend that much time on a high note
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You'll start getting tired. The reason that she's not is she's not increasing the volume every time that she comes in
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She just found oh, here's a volume that works
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I'm gonna start there and keep it like that through the whole phrase and then when I come back in on the next one
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I'll onset right to that volume rather than
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increasing every time because if she started doing that she'd reach her limit really quickly and when you're up at about that see
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That limit comes very quickly
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About the HEPA thing
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See how big her mouth is at that point. It still is actually a pretty thin and connected sound
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It doesn't sound breathy at the top. It sounds controlled
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Her mouth has to be super super wide in order to track that
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Harmonic as it goes up because at a certain point there's only a few ways that you can keep
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Changing the acoustic space so that it tracks that harmonic and one of them is just opening your mouth wide
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so she starts by opening it down and then when she gets to that point where
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Like it can't go down anymore and be comfortable. That's when it starts opening wider, but it's not like she starts. Hey
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Going up to it. She starts here. Ah
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And then only gets to that place at the very very top. Thank you for watching
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If you think that they like this video go check out my website
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Leave a comment below of anything that you'd like me to react to in the future. Thank you