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Why Reinforced Falsetto Is the Ultimate Tool for Vocal Development 🎶 🌬️ — Transcript

by Jose Simerilla Romero · 3,836 words · 620 segments · language en · Watch on YouTube

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0:11[screaming]
0:13reinforced falsetto and how it can be a
0:17development tool to build the full
0:20voice. [gasps]
0:27Falsetto has always had a bit of a bad
0:29rep in our musical genre. We have often
0:32heard said that falsetto has no place in
0:36oporatic singing and is often thrown
0:39away and discarded as any sort of
0:41training tool or used as a vocal
0:44technique development tool. The answer
0:47might surprise you. The fact that
0:49falsetto, specifically reinforced
0:52falsetto, is what many people tend to
0:54describe as a disconnected voice, does
0:57not take away from the fact of the
0:59enormous amount of benefits and
1:02advantages that it can give you to
1:05develop your full voice and help in your
1:08process of discovering how to ascend and
1:11descend naturally in a healthy manner
1:13and with the correct adjustments that
1:15need to happen internally. more
1:17specifically lingually and the state of
1:19the vocal cords in which they need to
1:21stretch and thin and lastly how the
1:24vocal cords come together and in what
1:27state they can come together. Reinforce
1:30falsetto can help with all of this. I
1:32would actually dare ask to say that
1:34reinforced falsetto is 90% of the voice.
1:39It's practically a template or a guide.
1:42Think of it as a role model. It's
1:44showing you how to do it. The only thing
1:46that's missing is slightly more firmness
1:49in the vocal cords in which once it's
1:51achieved without losing the reinforced
1:54falsetto position. You're able to feel
1:57connected to your full voice while the
1:59posture of the vocal cords remain quite
2:03similar to the posture of reinforced
2:05falsetto. In other words, you get the
2:07best of both worlds. The feeling of ease
2:10that reinforced falsetto gives you with
2:13the connection to the full voice.
2:23This answer might surprise you, I'm
2:25sure. However, one of the biggest
2:26mistakes I see singers make is spending
2:29hours practicing in this what I would
2:32call just regular falsetto, a breathy
2:35falsetto.
2:40and then wondering why it never
2:41transfers to the full voice. And so
2:43today I want to show you why reinforced
2:45falsetto and just falsetto or weak
2:49falsetto is not the same thing. Why one
2:52of them is perhaps one of the most
2:54powerful tools you can have for
2:55developing your full voice and how many
2:57singers have actually unknowingly
2:59perhaps used this for many generations.
3:01So what actually is reinforced falsetto
3:04as opposed to just normal falsetto? is
3:06happening really internally with the
3:08vocal cords. Interestingly enough, I
3:10don't think we have a universal
3:13definition for one and the other. We
3:15just kind of bumble it all up into one
3:17register and we call it falsetto. So,
3:19here it is. Normal falsetto is an upper
3:21register vocal coordination in which the
3:24vocal folds vibrate primarily along the
3:27inner edges and typically with reduced
3:30vocal contact. In other words, reduced
3:33time in which the vocal cords are
3:35staying together. They're more open than
3:37they are closed for each vibratory
3:40cycle. And as a consequence, it's a
3:42lighter, less harmonic rich sound as
3:46more air
3:48is flowing through them since the time
3:51that they are open is longer than the
3:53time that they are making contact. This
3:55is why weak falsetto or normal falsetto
4:00sounds breathy, sounds weak, and has
4:02lower acoustical intensity, fewer upper
4:06harmonics, and obviously it's highly
4:07dominated by the crycoyroid muscle.
4:10However, falsetto doesn't have to be
4:12breathy. A lot of singers think that
4:14falsetto equals air, but not
4:17necessarily. So, a breathy falsetto is
4:20simply one version, and it's this one,
4:22this weak falsetto. And this is not the
4:23one that I'm talking about for training.
4:25Reinforced falsetto. This is a falsetto
4:29coordination in which vocal fold closure
4:32breath compression and resonance have
4:35been increased without abandoning the
4:38fundamental falsetto vibratory pattern
4:40which results in a stronger, clearer,
4:44more harmonically rich sound. There's
4:46more of a blade in it. There is a
4:48laser-like quality to the sound. The
4:50vocal folds are still behaving like in
4:53falsetto, but they're doing it far more
4:55efficiently.
5:00The vocal folds are touching and
5:01remaining together for a longer period
5:04of time before they open and come back
5:06again together before they open and come
5:08back again together. So there is more
5:10time in the vibratory pattern in which
5:13they are periodically staying more in
5:15contact which creates even in falsetto
5:18an element of subglottic pressure which
5:20is why the sound feels quote unquote
5:23stronger especially if you reinforce
5:25falsetto is done with the preparatory
5:28concepts that I always talk about
5:29opening the throat finding lift finding
5:33depth all the things that I've talked
5:35about in my previous videos apply to
5:36this opening and making the the onset
5:39The preparation, [sighs and snorts] that
5:41feeling of that opening
5:43yan sound should be in your reinforced
5:46fo as well. Very similar to a soprano.
5:49This creates richer harmonics and
5:51there's less wasted air.
5:53[sighs and gasps]
5:57Number two, there's better breath
5:59compression. It's not more air, it's
6:01just better managed air. I think many
6:03singers make the mistake of trying to do
6:05false reinforce falsetto by blowing out
6:08air harder which if anything that's
6:10going to blow open your chords more.
6:11It's the opposite. It's not it's not
6:14forcing air out. It's being efficient
6:16with the air. It's feeling that contact.
6:18The airflow becomes more economical.
6:20It's not
6:23no.
6:29It's gentle, delicate, fragile, but
6:33free, elastic, flexible, and it has an
6:36edge. It has a a a steel blade in the
6:40sound. In addition to having an
6:42increased vocal fold contact, it also
6:44has more harmonic energy than weak
6:46falsetto. If we look at a specttogram,
6:48for example, we can see the results.
7:12Clearly you can see the huge change.
7:15Much more harmonics, cleaner partials,
7:17greater intensity. Now what doesn't
7:19change between weak falsetto and and
7:21reinforced falsetto? We want to
7:23understand that reinforced falsetto is
7:25not simply chess voice carried higher.
7:27If it were, it wouldn't be falsetto
7:29anymore. The basic vibratory patterns
7:31remain fundamentally falsetto-like.
7:34Reinforced falsetto simply becomes more
7:36stronger, more connected, more stable,
7:38and more efficient. Yet again, we have
7:41bumbled everything up that is not chess
7:43voice and thrown it into the category of
7:44falsetto. Now, the most important part
7:46of the video, how do we use reinforced
7:49falsetto as a development tool for full
7:51voice? I think many singers get into
7:53trouble because they discovered that
7:54perhaps they can't sing past the paljo.
7:57So they assume that they need more
8:00power, more force, more brute force, and
8:02so they start to push and GRUNT THE
8:04SOUND. [screaming] THEY'RE TRYING TO
8:07BUILD the roof of the house, but they
8:08haven't even built the second floor yet.
8:10The reinforced falsetto acts like that
8:12second floor, or if you want to think of
8:14it as a stair, it's the bridge to the
8:17high register. If you want to see it as
8:18a step-wise pattern, think of it as we
8:20need to understand how to cultivate the
8:23chest voice first correctly, then as we
8:26ascend into reinforced falsetto, then
8:29into a mixed coordination, and finally
8:32we have the full voice bottom to top.
8:35And obviously when you push, when you
8:37force, when you're tempted to grunt and
8:39brute force your way into the high
8:42register, you're going against the
8:44natural process of what the vocal cords
8:46actually want to do, of what the larynx
8:48wants to also do. When we push and force
8:50and grunt sound, the vocal cords lose
8:53their state and ability of being able to
8:56stretch. They start to shorten and get
8:59thicker, have more mass, and they tend
9:02to no longer come into contact at the
9:04thin edge, but bang against each other.
9:06The muscular structure surrounding the
9:08vocal cords also tenses. We start to
9:12abandon the lingial tilt position and
9:14we're right back into that screaming,
9:16strangling sensation where everything
9:18feels tense and muscular here. And the
9:21mind in a way kind of thinks that way,
9:23doesn't it? When we're sitting down and
9:26we see a singer who truly knows what
9:28they're doing, singing in a healthy,
9:29efficient manner, we get a blast of
9:32resonance, we get a blast of harmonics,
9:34our ears are ringing, but we don't
9:36correlate that that quote unquote
9:38powerful voice or resonant voice. We
9:41don't correlate that to efficiency, to
9:45relaxation,
9:46to caliate
9:51that, oh, it's powerful. It's push push
9:54because we're born doing things that
9:55way, right? We want to push more, we
9:57give more muscle. We want to punch
9:59harder, we give more muscle. We want to
10:01lift more, we got to build more muscle.
10:03And so we've we have correlated
10:05everything about power and strength and
10:08bigger and volume and to to to thinking
10:10it's more muscle here. It wasn't until I
10:14personally began allowing the upper
10:16register of the voice to remain flexible
10:18while gradually strengthening it that
10:21everything started to change. The
10:23resonance improved, the consistency
10:25improved, and eventually the full voice
10:27started showing up on its own.
10:44>> [singing]
10:50>> Oh,
11:20Oh,
11:27[singing]
11:49Lord.
12:05>> [singing]
12:07>> Wow.
12:09[screaming]
12:16>> [singing]
12:22[screaming]
12:33[screaming]
12:39[screaming]
12:42>> Wow.
12:45[screaming]
12:52More
12:58[screaming]
13:07[screaming]
13:23>> [groaning]
13:38[screaming]
13:42[screaming]
13:50>> You see how slow the practice, the
13:53connection and discipline training needs
13:56to be. Many singers are impatient and
13:58they just want to sing high notes. The
13:59reason why, and I know that that took
14:01quite a long time, but I really wanted
14:02to show you, for example, what I do in
14:04the mornings when I warm up. I don't
14:07wake up and just start singing Arya,
14:08especially the way I wake up. I wake up
14:10groggy. I have that horrible jaw
14:13tightness, suffering from TMJ.
14:16The voice is asleep. The support and the
14:18breathing is all asleep. Still hasn't
14:20woken up yet. The body hasn't woken up
14:22yet. Ah, the vocal folds are still
14:25waking up. They got to get used to that
14:27stretch yet. And you want to just sing
14:28aras or you want to have the full sound.
14:30That's the same thing as waking up
14:32completely groggy and then just going
14:35for a sprint. It's not going to feel
14:36good and the body is going to ache cuz
14:38you haven't woken it up. You haven't
14:40stretched it. Your warm-ups should
14:42compose of this. It's slow. It's
14:44gradual. You have to be patient and take
14:48care of the voice. Be patient with the
14:50voice. At no time was I thinking push
14:53force. Let's get the sound out now. It
14:55comes out when it comes out. And funny
14:57enough, the more you warm up in a
15:00reinforced falsetto with the proper
15:04opening onset postures, keeping the
15:06sound vibrating, not just straight
15:08toning a falsetto, but
15:14allowing the sound to vibrate, allowing
15:17everything to be quite loose, but
15:19maintaining a thin edge adduction. Full
15:22voice will funny enough start to appear
15:25by itself. It's gradual. Most of my
15:27morning warm-ups and routines comprise
15:30of these types of sounds. False
15:32reinforced falsetto, making sure that
15:34nothing is pushed, that everything is
15:36loose. We're starting to get the vocal
15:38cords to stretch. Then a reinforced
15:40falsetto down to a almost yawnlike sigh.
15:50And then starting to feel where that is.
16:06USING that long deep WOO
16:09VOWEL as that's going to elongate the
16:12vocal tract. And then little by little
16:13trying to bring that thin edge
16:15connection to the bottom to the chest.
16:19So no longer doing
16:24No, that's letting go. The vocal cords
16:27are
16:28touching. And then as you go down,
16:32you're letting go. Little by little,
16:34what I want to start doing is remain
16:37maintain that steady adduction.
17:02and now we're starting to find an open
17:05fins, aquante
17:08resonant sound that has blade, that has
17:09edge, and it's all coming from that same
17:12thin edge adduction almost like that
17:15baby wine or boyish cry.
17:28>> [screaming]
17:31>> Maintaining the tilt, maintaining the
17:33yawn, starting to find where that is as
17:36well. And starting to bring that boyish
17:39cry up to the level of that reinforced
17:41falsetto. Using the reinforced falsetto
17:44as a template, as a guide. Again, 90% of
17:47the voice is already there in reinforce
17:49falsetto. It's just a slight adjustment
17:52to connect it and articulate it here
17:54into the full voice.
17:57[screaming]
18:07I'm starting to now bridge the gap
18:09between the chest voice and the
18:11reinforced falsetto allowing the yodo
18:14the vocal crack to happen to find
18:16looseness in the sound. It's a natural
18:19occurrence for the larynx to move and
18:22yodo and crack as it's switching
18:23registers from falsetto to chest.
18:38You heard it. Don't avoid this. Don't
18:40get scared by it. It should be gentle.
18:42Shouldn't be aggressive. Should be a
18:44gentle.
18:51It's just the vocal cords as well.
18:54finding a bit more firmness while trying
18:56to maintain that stretchability and
18:59thinness and edge closure.
19:03But now they're getting firmness. Now
19:05they are being articulated. They are
19:07connected to the chest.
19:25For most of you, you're going to find
19:27that the key to your full voice lies
19:30within that sort of break that yodo and
19:33understanding how to make it work for
19:35you while maintaining
19:37an open throat posture,
19:40lift height, depth, open relax the
19:45tongue, relax the jaw. Everything needs
19:47to be tense free. Finding that wonderful
19:51a thin edge adducted reinforce
19:57[screaming]
20:02bridging the gap, not allowing the sound
20:04to get forced to get grunty. Follow that
20:07same trajectory of that reinforced
20:09falsetto where it's coming from. Tell
20:11yourself you're headed to reinforce
20:13falsetto. That's where the destination
20:15lies. But you're never quite getting
20:17there when singing in full voice.
20:22[screaming]
20:28[screaming]
20:32I was able to bring my full voice all
20:34the way up to whatever that note was to
20:37the level of that first reinforced
20:38falsetto by gradually training these
20:41principles, these ideas and using the
20:44reinforced falsetto as a tool. Now I'm
20:46sure you might be also wondering how do
20:48I even find reinforced falsetto? There's
20:49some singers who without training
20:51instinctually can find it and just have
20:53it. And there's some who perhaps have
20:55built a little bit too much of a habit
20:57of pushing or overblowing their chords
20:58that they can't seem to find that thin
21:01edge adduction. They're doing too much
21:04and they need to understand how to do
21:06less and get more efficiency. One way
21:08that I usually like to think about it is
21:11reinforced falsetto is similar to a
21:12counter tenor sound or a soprano. For me
21:16also reinforced falsetto comes from a
21:18place of relaxation and a celebratory
21:21mood. I've said this in my previous
21:22videos. Whenever you are celebrating in
21:24a party or having fun, perhaps you're in
21:27a theme park, in a roller coaster, we do
21:29this all the time. We in a way kind of
21:32holler and who in falsetto we go,
21:35"Woohoo!"
21:38Right? We're in a roller coaster.
21:40[screaming]
21:42Oh my god, I'm having so much fun. This
21:45is reinforced falsetto already. See if
21:47you can trick your mind. Instead of
21:49thinking singing, think of it as more of
21:51this celebration and see if you can
21:52fine-tune it to to a specific tone. So
21:55it's not JUST
21:58start that way and then see if you can
22:00maintain it into a tone in which you
22:02feel comfortable. [screaming]
22:13That's still not working for you. Go
22:15into your weak falsetto.
22:18>> [gasps]
22:22>> Find where that is. And now start to add
22:24a ny kind of an n or ng sort of position
22:28to that reinforce. That does not mean
22:31blow more air overblow the chords. Do
22:34more brute force. It means less. Just
22:36find that cry that buzz that focus. So
22:39again
22:41[gasps]
22:44Y
23:06[screaming]
23:10new
23:12ya.
23:16>> [screaming]
23:27>> Little by little, you're going to start
23:28to find more efficient and focus in the
23:31sound. Yes, you're going to sound
23:32ridiculous. That's fine.
23:34Congratulations. You're probably
23:35starting to do it correctly. The more
23:37ridiculous you feel in sound, the pro
23:39more correct you probably will be to
23:42discovering these key concepts of the
23:44high register voice. Another exercise is
23:47trying this sort of crescendo and
23:49decrescendo kind of in a meta devoce. If
23:51if meta devoce connects with you better,
23:54find a crescendo without pushing of
23:57course from weak fo to reinforce faucet.
24:01[screaming]
24:12>> [sighs]
24:13[gasps]
24:27>> Yes, you're going to be going through a
24:28lot of air once when you do when you do
24:30these exercises. So, breathe in deeply.
24:32So get accustomed to that. But the idea
24:34is that think of you're funneling this
24:36airflow into a narrow release. That's
24:40all it is. It's not forcing air through
24:42anything. It's releasing air, but it's
24:45being funneled through a small opening.
24:48This is what semi-luded vocal exercises
24:51are there for. Anyways, singing through
24:53a straw, putting that straw inside a cup
24:55with filled with water and blowing
24:57through it until [snorts] you see the
24:59bubbles come out and kind of singing
25:00through there. Woo!
25:02and seeing the bubbles kind of come out.
25:04They're not there to teach you
25:06specifically how to sing in full voice
25:09as the chords are loose and coming open,
25:11but they're there to train you to start
25:13to get this focused reinforced falsetto
25:16sound using back pressure. Getting used
25:19to the idea of subglottic pressure that
25:21comes from chords that are staying in
25:23contact with each other as air is
25:25passing through them. There is a
25:29little small resistance there, but not
25:32misinterpreting it for muscle or force
25:35or push
25:38is not a force sound.
25:42This sound has an element of subglottic
25:46pressure. The chords are staying into
25:47contact on the thin edge. I feel a small
25:51very light little resistance about as
25:54much as you probably feel when you
25:56whistle instead of that's just blowing
25:59and whistling
26:01that that slight change that's what I
26:03feel from weak falsetto as opposed to
26:05reinforce weak falsetto [gasps]
26:08feels like just blowing air
26:11whereas reinforce falsetto
26:15like that slight change to a whistle
26:22Except that when we whistle, when we
26:23blow air, it's in the lips. And when it
26:26comes to falsetto, it's not the lips.
26:28Think of the lips being the vocal folds
26:30that are doing it.
26:34I'm whistling, but in my vocal folds, if
26:38that helps in any way. Now, I want to
26:40make one thing very clear. I am not
26:43advocating for you to perform on stage
26:46with reinforced falsetto. I'm telling
26:48you to train with reinforced falsetto.
26:51Those are two very different things. And
26:53this again is part of the problem for
26:55many singers is you don't know how to
26:56train correctly. If you were to go to a
26:58gym, there are 200 different kinds of
27:01machines for all different kinds of body
27:03parts. There's even 20 to 50 machines
27:06for one specific body part. You need to
27:10you need to think of your vocal training
27:12similar to your physical training. You
27:14go to the gym and you're not going to
27:15say, "I'm going to work out my entire
27:17body today." No one does that. No one
27:19who gets results do that. Today we're
27:22going to work on back. Today we're going
27:24to work on chest. Today we're going to
27:25work on legs. Today we're going to work
27:26on arms, on shoulders, on triceps. Be
27:29very specific. And even when you
27:32conclude on what you want to work on,
27:34let's say I'm going to work on chest.
27:36What kind of chest workout? Even the
27:38chest has different kinds of muscles.
27:40Are you going to be using a more
27:41resistance type training, hypertrophy
27:44style training? Are you just building
27:45for strength? See, we ask ourselves for
27:48the most part these questions when we
27:49want to work out our body, but we don't
27:51do that when we work out our voice.
27:52Think, what are you going to train
27:54today? What concept will you be working
27:56on today for the voice? The goal is to
27:59strengthen coordination. It's not to
28:02force your chest voice higher.
28:07>> [screaming]
28:10>> bridge the gap. No one ever talked about
28:13forcing the chest voice up. Let's look
28:15at some of these quotes. You know,
28:16Franco Corelli often described allowing
28:18the upper voice to feel released rather
28:20than muscularly pushed. There's plenty
28:22of quotes of him talking about how his
28:24upper register was not brute force, it
28:27was coordinated. Aruro Meloi himself, he
28:30emphasized keeping the instrument
28:32efficient and resisting unnecessary
28:34throat tension. Luchiano Pavarothi, he
28:37frequently spoke about the ease of the
28:39upper register. He didn't describe it as
28:42screaming high notes. He described them
28:44as letting them spin. Angelo Lores talks
28:47about how singing the high register
28:48voice should feel like falsetto, as if
28:52you were in falsetto. There are plenty
28:55of great legendary singers who have
28:57described the sensation of ascending and
29:00descending as a stretch as a release as
29:03a form of freedom and ease and as a cry
29:07like as a boyish cry like sound. All
29:11these terms describe the same thing. Do
29:15not rely on muscular force to get you
29:18there. rely on coordination, efficient
29:22coordination, and gradually
29:24understanding how the crycoyroid and the
29:27thyroitenoid work together to make up
29:30what we know as the full voice.
29:44[screaming]
29:46So, that's all for today, guys. If this
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31:25continues. Chow chow for

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This page contains the full transcript of Why Reinforced Falsetto Is the Ultimate Tool for Vocal Development 🎶 🌬️ by Jose Simerilla Romero, generated from the public captions YouTube serves with the video. The transcript has 3,836 words across 620 segments, with the original timestamps preserved so you can click any line to jump to that moment in the embedded player.

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