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

69 Folder Collection
陳明頤 published on April 21, 2019
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