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

Click the word to look it up Click the word to find further inforamtion about it