Voice Teacher Reacts to Dimash Kudaibergen - SOS

Hello, my name is Sam Johnson and I am a singing

teacher

. To learn more about me or sign up for lessons, visit my website vocalease.net. I will react when Dimash sings SOS. So safe. You can tell he knows he's about to do something great. Nice French "R". That "R" is a little difficult. In classical music, they usually turn it around and say pourquoi versus pourquoi in classical music. But he's singing current music that little R is interesting, he lifts his tongue back and then just vibrates with the hard palate. Great, so start from the bottom.

It's a really big sound, but when he starts to go up, it gets lighter and lighter because he's preparing to bridge it. But the lightness does not begin on the bridge, it begins much earlier. It's just that the first one started with full chest

voice

to feel his vocal cords together and be able to carry that sensation upwards. It's a countertenor. He really respected those breathy parts at the top of his

voice

. Being able to control his airflow so that it stays constant while dividing it like this in the middle is really difficult because our tendency is for the breathing flow to change at onsets and offsets.

So that there is more breath or less breath. He is starting with a very small, very controlled amount of air. He did that vowel like a classical singer, where he sounds a little further back. It is very round and tuned to the fundamental harmonic. I'm pretty sure that based on how it sounds, you're not tuning into the second or third harmonic like you would in a mix. And because of that, he doesn't have much energy at the top of the spectrum. It just sounds a little hollow. It's a great strategy, I mean there's a reason why people do it and it produces that kind of rounder sound.

And then it goes back to a more advanced mix and with much more cord closure. And that's why it doesn't sound as choppy as the previous one. He goes back and forth between that soft, beautiful, small, low-volume, kind of rounder, very round, very small classical voice, to a really whiny, direct, intense voice. He comes and goes, but he is in control of those shadows in between. He doesn't have to be at one extreme or the other, he moves between them to reach the extremes and that is very skillful. Typically, if it starts to recede, if the sound recedes, it's into a more open vowel like ah or oh.

Generally, falling back means that your tongue is withdrawing, it is a way of suppressing the larynx, so if you find your larynx, with girls it is a little more difficult, with boys we have a big bulge. But if you find this area of ​​hard cartilage here and you swallow it, it goes all the way up. If you pull your tongue back or do this, your larynx drops, and that's how you make a higher-pitched sound. What you are doing is to achieve the effect you want with that sound. It's too good to do by accident. Even the E!?

But he slid into it and that's why it worked for him. So he slid up there, he didn't try to just attack that high E, he started like a seventh down and then slid down there. That allowed his vocal cords to stretch, even though it was very fast, they were able to stretch and still find a balanced spot. It also didn't increase as it went up. One thing that's a little crazy is an octave above something that I think doubles the amount of sounds the listener perceives. Then, because he moved from where he was, he was a little bit lower (it's crazy to say that an E4 is a low note, or an E5 is a low note), but then he jumps up.

The perceived loudness will also increase by 100%, so you compensate by reducing the volume. It's like it's decreasing on the way up, which along with the slide helps make it a very easy, very smooth, beautiful note at the top. It is still a round and robust sound. I like to think of it as a tweeter and a woofer. If you only have one tweeter, the sounds will be a bit fragile. If you only have one woofer, it will be really wolfy and you won't be able to hear any of the high overtones with it. He is not neglecting either of them.

He's letting them both have a say in this, and it's a nice sound. It sounds more classic, because it has a little more sound (UH). Okay, so in the word tall you can see how wide it's extending. It's going to be very difficult to get pure Oh on a D5 with a mixed voice like that. And with a really strong mixed voice, if you lean as much as he does now, it will be very difficult for it to be so round, so he opens it up. And it's high enough that he has to do it. That's the only way he can produce that tone.

Interesting on that last one - ooh and then leans towards him. In the latter, the child is usually nasalized and I like nasal sounds because they usually help me find more cord closure. A little more balanced than the drawstring closure. In that last one I didn't want to close the cord. He was singing so breathily for effect, that if he were to __ that would come out of texture, so he doesn't nasalize that vowel, he simply says ___ and by doing so he can maintain a consistent tone until he wants to bow. at the closure of the cord, what it does at the end with its crescendo from there.

It increased in volume and also in the amount of intensity of the cord closure. That guy is a rock star. Dimash is amazing. He has complete control over his voice; There are very few things you can say he's doing wrong because they all sound intentional and they're all pretty healthy. You can't sing like he does if he's not healthy. Like these extremes of the voice, the really high notes and the volume being so small, and then going back to that high volume, and using all the tones in between, you can't do that if you're singing something wrong. .

It's proof that he's actually not doing much that's super inefficient because he's consistent. You never wonder if he's going to play a note, he's just there. He just does it and so as an audience member we can just watch it and not worry about whether he's going to sing something well. We can just say, "Oh my God, he's so good, what's happening and what he's saying, and I'm so invested in the story and now you're telling me the story because he's a good storyteller, and all of that is the most important thing." ". Part of singing the narrative is what we can focus on instead of having to focus on technique like I did in this video.

I mean, in this series of videos I'm just breaking down the technique, but it's because of the technique that he can do whatever he wants and people are in the palm of his hand throughout the entire process. He can make people care more about the story than the technique, and I think that's a win. Thanks for watching, please hit the subscribe button, leave a comment at the bottom. I can't believe I just said, hit the subscribe button, but yeah, I really appreciate it. Tell me something else you want to learn more about.