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Wow! Brillant teacher!

Curious. You mention Gigli and Lauri-Volpe as examples of nuanced singing. I always thought Lauri-Volpe was one of the original low larynx proponent. I cant imagine making a choice between singin softly , having a wide emotional pallette at your disposal, and Volume ( capital V). Del Monaco , toward the end, was limited to Forte all the way to FF. But that was what they paid him for.

This is one of the BEST lessons I've ever seen in order to achieve high notes. Period... Hundreds of videos, lots of teachers, but.. I've never found so much truth in such a short amount of time. Brilliant

1:35…pretty much no vocal coach online has ever made this sound that I have come across….and most likely cuz most don’t actually know how to do that.

That the air is envisioned almost like a vapour. That single comment is gold.

great teacher, nice one Jack.

The key to the subjective concept is at 6:06….you see, these frustrated “rock pop” singers have learned to drop weight via speaking bobbing larynx, because that is the way we all vocalize. Yodeling ee and oo flipped falseto is very natural. Reinforcing the falseto that way is easier to get an intuition for. To do this with the “yawn” position is very counter intuitive with the tendency to “grunt” as you have stated in previous videos… hitting the ceiling in the passagio range… this is simply because we don’t go around vocalizing that way all day long. Perhaps there is a way to develop that intuition for those people who have already been singing “wrong” with speaking position? That would be an end to a lot of frustration for students and teachers.

Is it the same for alto and soprano voices?

Grazie maestro, this very informative. Explains a lot of intentions that ww need to focus when we study. There's another pressure though: the psychological one. Going to high register i feel such a sense of PANIC (insecurity or just lack of air?) to which instinctively i react with pushing as if "forcing the air out" (not that I mean to). Is this any normal? Disastrous result. And The opposite of the GEBTLENESS you always invoke. How do we focus on the BEAM? We can't Direct it to the mask or up, or to the back (or should we?). How could we (I) win that panic feeling and how would we control the beam? Any comment and help is highly praised Grazie mille

Merci Maestro

He's changing the vowel sound from ah to uh.... Most teachers never tell you about the modification of the vowel sound... Makes it easier to hit the higher notes lol

I have hard time to sing high note and also my breath do not last long.

The best at explaining!

Wonderfully explained.

Crazy how few views this has

The man is a treasure

The best, most efficient tenor high note explanation and demonstration ever. Bravo 👏 and thank you! 🙏🏼

Gosh this brings me such joy to see a CLEAR explanation and demonstration that isn't just metaphors

❤ thank you so much

This video got me remembering a video from Angelo Lo Forese, explaining exactly that. Brilliant!

The person filming’s sigh at 2:47 was so resonant with me. I’m studying to become a professional singer and that sigh was an all encompassing: ‘Oh another thing I have to think about and fix’. I so felt that.

Jack, I took lessons from one of your students a few years back and I personally felt he was trying to get me to compress too much. I have since started studying with a different individual who has helped open up what I believe you are trying to get at in regards to keeping the muscles soft in the high notes. I cannot stress this enough. It comes from falsetto but there is such a fine line between the falsetto sustained squillo and the chesty compression that is heavy. It's literally like learning to whistle from the falsetto with lots of flow and then slowly lowering the larynx (tilt). The sound is literally placed above and back like Jack is saying and it will feel like there is a lot less presence than there actually is. Once trained by someone who knows what they are doing the sound will be a lot bigger when you hear the recording vs what you are feeling when you are singing.

The best short for tenor voice ever 👏👏👏

GRAZIE Maestro!

How clear the treasure is❤❤❤

Thanks, totally perfect !!!!!!!!!!!!!!!!!!!!!!!!!!!!

How many teachers can actually sing WELL the stuff they so precisely teach? Not many! Jack is a treasure!

This is awesome thank you! But as a long term rock singer I find it hard to get out of chest/throat into that head/nasal area… 50 years old and trying to change and get “lighter” - any thoughts/tips?

❤❤❤❤

Great info!

Thank you 👋

Amazing Jack! Thanks! ❤

We have a saying among ourselves, collegues, that it is not enough to love your profession, you have to master it. Well, this gentleman knows how to do it, for sure, and equally important, that he has talent for teaching, too. Bravo!

Beautiful 😊

Excellent explanation ! Bravo !!!

💥💥🔥

Never saw such a practical explanation! 🤌🤌

Genial!!! gracias Maestro

Great demonstration!

Excellent demonstration and insights here. 👑

Jack, thank you for sharing your wisdom. Your instruction is spot on! Your scaffolding reference paints a wonderful image of the correct and sustainable "open throat ". Beautiful instruction backed up by Beautiful vocal examples. Thank you for posting. Steven from Ohio.

So does it follow that you think that the non-driving melocchi tenors, such as MDM, were using too little air and therefore bulking to folds? I was thinking about what you said in pt 1. At least my own studies and interactions with such people, I have found the difference isn't an intentional blocking or driving of air, but rather the Melocchi influenced singers tend to exaggerate the closeness of the phonation to maximum suction point on inspiration. This draws a very compressed fold to the compressed sound column which is being displaced and formed by the folds. So with such a breath set up, melocchi type phonation doesn't require any conscious blocking of the air because the folds naturally close to meet the kind of air they are interacting with. But that is a generalization as there were seemingly a number of different schools of melocchi type singing and it is hard to equivocate someone like Giacomini with Del Monaco for instance, or Cecchele. There is a greater parallel between someone like Melochior and MDM then there is between Giacomini and MDM. I probably have this tendency, hence why if I do the straw exercise, it is useless for me as my air actually decreases as I go up; although I am certainly not trying to actively glottalize the air. The confusing thing about singing of course is that there are some people who DO use quite a lot of air and are very loud and project well and resonantly. But I guess you can be loud like a releasing pressure tank; or loud like a the fog horn of a ship, and both are really loud and resonant, they just require different volume versus pressure balances.

hi Jack, you have the look of Caruso, you sharing of your skills is well appreciated thanks again.

Hey Jack! super cool vid, does this apply equally to baritones?

Finally a new Jack video!!

I wish I could give this 500 👍🏽s

How does the stomach work when doing this? I have always had a problem with support. I work on holding the ribs out but some claim we should feel like when doing a situp as we sing. Some say lean out. I am confused

Man, I love it so much when we get new Jack videos!!!!

Bravo!!!! Muchas gracias Maestro!!! totalmente acertado

Absolutely wonderful Jack! So much of what you are espousing reminds me of the wonderful E. Herbert Caesari and D.A. Clippinger in their speaking of the councious mind. I believe it was Caesari who said that, "...the concious mind is a fearful muddler. All the work of singing must be given over to the subconcious." Thanks again Jack!