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0:00 Introduction
0:48 Thanks for the video and recipe Jeff! I used to do it with a dash of whiskey as well. Do you think that adding that to the combo helps the vocal cords?
Other question: I don’t understand why lemon is good in this recipe as its quite acid and that’s not good for the vocal cords…?
Sorry to come to this lovely recipe with these quite annoying questions, but can’t help to wonder them. Thanks again !
3:37 Hey Jeff ! First of all thank you for all your videos, I use them everyday, they are just great 🙂 I am practicing the zone of the passagio these days and I have one question : Is it normal that the transition flows and my voice seems to mix nice when I lip trill but as soon as I try to do the same exercice with vowels, it is much harder to smothen out the change of register ? Thanks a lot !
6:50 Love your vids. How do I protect my voice from weather. Like colds and such. Thanks in advance.
9:38 Thanks for all of your videos. My main question as always is how do I take care of my voice. Also, is there an excercise to decrease the vibrato in my voice. It’s very subtle, but I notice it. Thanks in advance.
13:35 In addition to vocal and music pedagogy, your videos show knowledge re music amplification and recording. Thus, my question: do recording and amplifying systems have a sort of formant equivalent as to enhance some frequencies and suppress others? Amplified or recorded Luciano Pavarotti’s voice had a sort of metallic edge but live, the voice was clear with a ‘ping’ similar to striking a crystal wine glass. Placido Domingo’s voice sounds pretty much the same live or amplified. Unamplified voice always better IMHO.
19:51 Can you explain what you mean by hollow to narrow?
Also, when you suggest starting lower in a comfortable range are you still in head voice or to go ahead and use chest voice as well?
24:35 Would you know if it’s possible to improve the timbre of a voice? If so, what exercises might improve it?
25:34 Sometimes something you say just sails by me as I concentrate on only a part of it. To wit: we don’t seem to be able to consciously control the laryngeal muscles to thin the cords the way we can see and feel our hands when we are keeping the wrists up or perhaps see and feel the fingering of a guitar or violin. I think we seek the feel of what produces the sound we want. But how did you hear what you were doing when you mimicked the sound you wanted? Our own perception of our singing voice is notoriously ‘off’ and not the same as what the audience hears. Did you have the help of a teacher or recording for feedback as to what sound you produced? If you went by perceived sound during or while you were singing, I can see getting pitch, ease of transition and perhaps clearness of tone but not the tone or timbre itself. How did you do it? I woke up at 5 AM and this popped into my head so I added a comment.
29:43 Hey Jeff I’m curious whether or not the secondo passaggio is the “break” itself or the note before the break? (I consistently break at G4 but am uncertain whether or not this means my secondo passaggio is in fact G4 or the note before G4.)
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https://www.voiceaffairs.com/vocal-coach-reacts-to-beatbox-big-man-asia-championship-2017-solo/