Placeholder Image

Subtitles section Play video

  • 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

  • My

  • 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

  • Please like and subscribe share with your friends

  • If you think that they like this video go check out my website

  • vocal e's net if you're interested in signing up for voice lessons and

  • Leave a comment below of anything that you'd like me to react to in the future. Thank you

Hey, my name is Sam Johnson and I am a voice teacher

Subtitles and vocabulary

Operation of videos Adjust the video here to display the subtitles

B1 US classical phantom opera voice sound closure

Voice Teacher Reacts to Phantom of the Opera - Sierra Boggess & Ramin Karimloo

  • 34 2
    陳明頤 posted on 2019/04/21
Video vocabulary