Ep. 26 "Baritone Curse" - Voice Lessons To The World

Summary

In episode 26 of 'Voice Lessons To The World', Justin Stoney addresses the 'baritone curse', a concern raised by Randall O. about singing high notes as a baritone. Stoney debunks the misconception that a low speaking voice equates to being a baritone and explains that voice classification can vary between classical and contemporary music. He offers advice on developing a mix voice, not neglecting falsetto, and using proper vocal techniques to extend one's range. Stoney also encourages embracing the baritone voice, emphasizing its unique value in music, and suggests that with practice and the right guidance, singers can overcome perceived limitations.

Takeaways

• 🎤 The 'baritone curse' refers to the feeling of being limited in vocal range due to identifying as a baritone, especially when aspiring to sing high notes like tenors.
• 🔍 A low speaking voice does not always equate to being a baritone; some with low voices are actually tenors with a high range.
• 🤔 Being classified as a baritone in the past, such as in a choir, does not definitively determine one's voice type.
• 🚫 Struggling with high notes is not exclusive to baritones and can be addressed with proper vocal techniques and training.
• 🎼 Voice types are more nuanced in classical music, but in contemporary and pop music, these distinctions are less critical for microphone singing.
• 🔄 Developing a 'mix' voice, which is a blend between chest and head voice, can help extend the range and sing higher notes in a healthy manner.
• 👥 Working with a voice teacher can be beneficial to develop the mix and extend vocal range.
• 🔝 Don't neglect the development of the falsetto or head voice; it's crucial for accessing higher notes and developing vocal flexibility.
• 🗣️ Avoid singing the middle voice too loudly or fully, as it can hinder the ability to reach higher notes.
• 👃 Utilize nasal resonance in the middle and upper-middle voice to facilitate the transition to higher notes.
• 💪 Allowing the voice to be lighter and breathier can help with coordination and reaching tenor notes in a pop context.
• 👍 Embracing the baritone voice type can be a positive thing, offering a rich and unique sound in a market saturated with high notes.

Q & A

What is the 'baritone curse' that Randall mentions?

The 'baritone curse' refers to Randall's belief that, as a baritone, he is unable to sing high notes like tenors in pop, rock, and R&B music. He feels limited by his vocal range and is concerned that he may never be able to sing the high notes associated with tenors.

Does having a low speaking voice automatically mean you're a baritone?

No, a low speaking voice does not automatically mean you're a baritone. Many people with low speaking voices may still have a higher singing range, and voice classification isn't solely based on speaking voice.

Why might someone have been classified as a baritone in choir, even if they aren't truly a baritone?

Someone might have been classified as a baritone in choir due to blending purposes or choir arrangement, rather than their actual vocal range. This classification may have led them to identify with the baritone range, even if their natural range is different.

What does Justin Stoney suggest could be the reason for struggling with high notes, besides being a baritone?

Struggling with high notes might be due to issues with vocal registration or vocal mechanics, rather than simply being a baritone. This suggests that vocal challenges with high notes can be addressed through training and technique.

How does voice classification differ between opera and contemporary music?

In opera, voice classification is crucial due to the need to project over an orchestra, and specific voice types like lyric baritone, dramatic tenor, etc., matter. However, in contemporary and microphone singing, these distinctions are less important, and singers of all types can perform in various ranges.

How can a baritone extend their range to sing higher notes in pop and rock music?

A baritone can extend their range by developing a good vocal mix, which blends chest voice and head voice or falsetto. This allows for a strong, high sound that is suitable for pop and rock music. Working with a vocal coach can help achieve this mix.

Why is it important for baritones to not neglect their falsetto and head voice?

Neglecting falsetto and head voice can limit a baritone's ability to develop a proper mix, which is essential for achieving higher notes. Practicing exercises that enhance flexibility and high-range control is key to breaking the 'baritone curse.'

What advice does Justin give about singing in the middle voice?

Justin advises against singing the middle voice too loudly or with too much weight, as this can block the ability to reach high notes. Singing too strongly in the middle voice may prevent the vocal cords from coordinating effectively for higher ranges.

How can nasal resonance help baritones reach higher notes?

Using nasal resonance in the middle and upper-middle voice helps activate the upper resonators, which are necessary for reaching high notes. Bringing nasal resonance into the middle range can aid in achieving a smoother transition to higher notes.

Why does Justin suggest that being a baritone isn't necessarily a bad thing?

Justin emphasizes that being a baritone can be a positive thing, as the world needs more baritones, especially in genres where high notes dominate. Embracing a rich, lower range can offer a unique sound and provide contrast to the common trend of high belting in pop music.

Outlines

00:00

🎤 Understanding the 'Baritone Curse'

In this segment, Justin Stoney addresses the concept of the 'baritone curse' raised by Randall O., explaining that having a low speaking voice does not automatically make one a baritone. He clarifies that voice classification is not always straightforward and that a person's self-identification as a baritone, based on past choir experiences or voice teacher's advice, might be incorrect. Justin emphasizes that struggling with high notes is not exclusive to baritones and suggests that it could be due to vocal registration or mechanics issues that can be improved. He also touches on the differences between classical and contemporary music in terms of voice type importance.

05:02

🔑 Breaking the 'Baritone Curse'

Justin provides strategies for baritones who wish to extend their vocal range into tenor territory. He suggests that in pop music, voice types are less rigid, and everyone can achieve a tenor-like sound with proper technique. Developing a good vocal mix, which is a balance between chest voice and head voice, is key. He advises finding a voice teacher for guidance and emphasizes the importance of not neglecting falsetto and head voice exercises. Justin also recommends not singing the middle voice too loudly and incorporating nasal resonance to facilitate a smoother transition to higher notes. He encourages embracing lighter and breathier sounds to access the tenor range and reminds singers that being a baritone is not a limitation but a unique strength.

10:04

🎶 Embracing the Baritone Voice

In the final paragraph, Justin encourages singers not to be afraid of their baritone identity. He argues that while it's possible to work towards hitting high notes and singing like a tenor, there's also value in embracing the baritone voice for its richness and depth. He suggests that in a world where many singers focus on high notes, having a distinct baritone voice can be a refreshing alternative. Justin advises singers to consider cultivating their unique sound rather than solely pursuing high notes. He concludes by inviting viewers to submit questions for future episodes and promoting his vocal coaching services.

Keywords

💡Baritone

A baritone is a male voice type that lies between the bass and tenor voices. In the video, Justin explains that many people identify as baritones due to their lower speaking voice or because they were classified as such in choirs. However, he clarifies that being a baritone doesn't necessarily mean being limited to singing low notes, especially in contemporary music where vocal range and technique can extend beyond traditional classifications.

💡Tenor

A tenor is a higher male voice type, often associated with singing high notes in various musical genres. The video addresses the common desire among baritones to sing like tenors, particularly in pop and rock music. Justin emphasizes that with proper vocal training and technique, even baritones can achieve tenor-like high notes, thus 'breaking the baritone curse.'

💡Baritone Curse

The 'baritone curse' refers to the frustration some singers feel when they believe their lower voice type limits their ability to sing high notes like tenors. Justin uses this term humorously to describe the misconception that baritones are doomed to sing only low notes. He provides advice on how to overcome this 'curse' through vocal techniques such as developing a mix and using proper registration.

💡Chest Voice

Chest voice is the register in which most people speak and sing lower notes, characterized by a rich, full sound. Justin explains that many baritones rely heavily on their chest voice, which can limit their ability to reach higher notes. He suggests developing a mix of chest and head voice to extend vocal range and achieve the high, chesty sounds desired in contemporary music.

💡Mix

Mix refers to a vocal technique that blends chest voice and head voice, allowing singers to reach higher notes with strength and clarity. Justin highlights the importance of developing a good mix for baritones who wish to sing higher notes like tenors. This technique is essential for overcoming the limitations of the chest voice and achieving a more versatile vocal range.

💡Falsetto

Falsetto is a higher, lighter register used by male singers to produce notes above their natural range. Justin advises baritones not to neglect their falsetto, as it plays a crucial role in developing the mix needed to sing higher notes. He encourages exercises that strengthen the falsetto, which can help bridge the gap between the chest voice and head voice.

💡Registration

Registration refers to the different vocal registers or ranges, such as chest voice, head voice, and falsetto. In the video, Justin discusses the importance of proper registration for baritones who want to sing higher notes. He emphasizes that struggles with high notes often result from issues with registration rather than being inherently limited by one's voice type.

💡Contemporary Music

Contemporary music encompasses modern genres like pop, rock, and R&B, which often feature vocal styles different from classical singing. Justin contrasts the voice type classifications used in opera with those in contemporary music, noting that the latter allows more flexibility. Baritones can successfully sing higher notes in contemporary styles by adapting their vocal technique, regardless of their classical voice classification.

💡Nasal Resonance

Nasal resonance is the use of the nasal passages to enhance the brightness and projection of the voice. Justin explains that baritones aiming to sing higher notes should incorporate nasal resonance into their middle and upper-middle voice. This technique helps lighten the sound and facilitates easier access to higher pitches, contributing to a more balanced and powerful mix.

💡Voice Teacher

A voice teacher is a professional who helps singers develop their vocal technique and range. Justin underscores the importance of finding a good voice teacher, especially for baritones looking to expand their vocal capabilities. A knowledgeable teacher can guide singers in overcoming technical challenges, such as developing a mix or improving registration, to achieve their desired vocal goals.

Highlights

Introduction to the 'baritone curse' concept and its impact on singers who aspire to sing high notes.

Dispelling the myth that a low speaking voice automatically equates to being a baritone.

The possibility of having a high range despite having a low speaking voice.

The importance of not self-identifying as a baritone based solely on past choir experiences or voice teacher classifications.

Personal anecdote of the instructor discovering he was a tenor despite being trained as a baritone.

Explanation that struggling with high notes does not necessarily indicate being a baritone and can be improved with vocal technique.

Differences in voice classification between opera and contemporary music, and their relevance to microphone singing.

The potential for baritones to sing high in pop settings despite being classified differently in opera.

The role of chest voice in creating a 'baritone curse' and the need to develop different vocal registers.

Advice on developing a vocal mix to extend the range higher in a healthy and strong manner.

Emphasis on not neglecting falsetto and head voice development for achieving a tenor-like sound.

Tips on singing the middle voice with appropriate volume to avoid blocking access to high notes.

The use of nasal resonance as a technique to facilitate the mix and access to high notes.

Encouragement to allow for breathiness and lighter sounds to access the tenor range.

A positive perspective on embracing the baritone voice type and its unique qualities in the music industry.

The message that being a baritone is not a curse and that it offers its own set of advantages in singing.

Encouragement to practice and find a great voice teacher for breaking the 'baritone curse'.

Invitation to send questions for future episodes and resources for further vocal coaching.

Transcripts

♬

Hi everybody!

My name is Justin Stoney and I'm the founder of

New York Vocal Coaching here in New York City.

Welcome to episode 26 of Voice Lessons To The World.

The show where we want to help you guys as singers

by answering your questions from all over.

And I'll give you a chance to ask questions later.

But our question for this week comes from Randall O. in Orlando, Florida.

And Randall writes, "Dear Justin, I have the 'baritone curse'. All my favorite singers

are tenors that sing pop rock and R&B.

But I'm a baritone. Am I doomed with the 'baritone curse',

or will I ever be able to sing high?"

That's a great question Randall and thank you so much for writing.

And that's very funny, the "baritone curse."

I like the way you say that.

And today we're going to talk about this curse

that you describe and see if we can dispel some of that

and give you some ideas and some options

so that you don't feel doomed and cursed for the rest of your life.

So let's dive right in.

"The Baritone Curse".

I think I know what you mean by that Randall,

but I'm going I'm going to just talk us through that.

First of all, a baritone,

a lot of people think that's somebody, you know with a low voice,

And it could be. It is.

However, just know, Randall and all, I haven't heard you Randall,

but a low speaking voice does not necessarily mean

that you're a baritone.

So if you have a low voice, if you have a low, baritone speaking voice,

that doesn't mean that you're a baritone.

There's plenty of guys with a low speaking voice,

who are actually tenors, and actually have a great high range.

And there's also baritones and basses that don't actually speak all that low.

A lot of times it does cross over.

But not necessarily.

So you may indeed have a low speaking voice,

and not be a baritone.

That's one thing to keep in mind.

Another thing is a lot of people have been told

that they're baritones.

Maybe you've sung in choir in the past and

you were put in the baritone section.

And that could have been due to blend.

But then you start to think to yourself,

"Well, I'm a baritone."

And you identify with that.

You identify with low notes, and with singing low,

and you think of your voice as low.

Voice teachers as well often classify they're singers as baritones,

and have them singing low repertoire,

and singing low and middle notes all the time.

Just because somebody has told you you're a

baritone in the past, doesn't necessarily mean that you are.

Personally, growing up I always sang baritone in choir,

I was trained as a singer as a baritone,

and I found out later that I was actually a tenor,

and had a real easy time getting up to high notes.

But all growing up and all through my teenage years

and even early twenties, I really didn't have a tenor range.

But I found out later that I was a tenor.

So just because people have told you that you're a baritone,

that also doesn't mean that you're "cursed" to be a baritone.

The next thing is, just because you have trouble with high notes,

doesn't mean you're a baritone.

A lot of people say,

"Well I just can't hit those high notes. I must be a baritone."

Even voice teachers will say,

"Well, you're not really getting up to these notes and

you're kind of strained up here. I bet you're a baritone."

Just keep in mind that a struggle with high notes

doesn't just mean that you're a baritone.

It's probably some sort of issue with your registration,

or an issue with your vocal mechanics.

It is something that can be changed.

And so, struggle with high notes does not equal baritone.

Next, opera versus contemporary Music.

Keep in mind, there's a lot of different voice types

that classical singers classify.

You could be a lyric baritone.

You could be a basso profundo,

you could be a dramatic tenor,

or a lyric tenor.

There's a lot of categories that really do matter for operatic music.

When you're on an operatic stage and you need to project

over an orchestra, your voice type actually has a lot of meaning.

But in contemporary music and pop and especially microphone singing,

those distinctions are really not important.

And it sounds like, Randall, you want to sing more pop, rock, and R&B.

So perhaps you've had some classical training,

and maybe in a classical setting you might be a baritone.

But somebody who's a baritone on an operatic stage

could indeed sing high in a pop setting.

There's a lot of reasons why that's true but just know

that a classical singer's distinction is not necessarily going to be

something that crosses over to contemporary and microphone singing.

Also, baritones sometimes are just guys who

have used their chest voice exclusively.

They only know how to sing in chest.

Or maybe just falsetto and chest voice.

But they haven't developed a lot of different registers.

They just sing one way all the time.

And that way tends to be chest voice.

Doesn't matter if you're a tenor or baritone,

if you're only singing in chest voice,

you're going to be something like a baritone,

no matter what your voice type is.

So those are the categories that I'm going to call,

"elements to having the baritone curse."

So I hope that makes sense for you, Randall.

And maybe you can identify with with some of those,

and baritones out there, maybe you can identify with some of those.

But now let's talk about breaking the "curse".

If you are "cursed," as a baritone,

here are some ideas for how you can maybe get through that.

First of all, like I say, within pop music everybody's a tenor.

Ok. So, again, voice types are real.

What you've got, is what you've got.

But, within pop music everybody can make

sounds that are something like what a tenor would make.

An authentic, high, chesty sounding note,

that can be done regardless of voice range.

I know very, very low basses and baritones who

naturally would be basses and baritones,

especially in a classical setting,

who can sing with a really high extension

that works great for pop rock, even for musical theater as well.

The key to this though is going to be developing a good mix.

And you might need a good voice teacher in your area

to help you to do this.

But developing a mix, is finding a registration

that's between chest voice and your falsetto or head voice.

There are ways to blend those two things

that will take the weight out of your strong chest voice,

and allow you to extend your range higher and higher

in a healthy way, and in a way that sounds, like I say, strong.

It's not chest voice, but it will sound like chest voice.

So even the lowest singers when they develop a great mix,

and a great head voice, will be able to sing like a tenor,

really, really high, especially within the context of contemporary music.

Now, another tip for breaking that curse,

and I've said this in the past, don't neglect your falsetto.

Don't neglect your head voice.

It's not probably the mix you're looking for, Randall,

but you can't neglect the high stuff and expect to get the mix.

You've got to get way up there in falsetto.

You've got to do your trills.

You've got to do your breath support exercises.

You have to do your things like we've talked

about with filters in the past.

Things that facilitate your flexibility.

You've got to have a lot of that kind of work.

Not just strength work, if you want to get up into the mix,

and if you want to be something like a tenor,

or you want to discover that you really, really are a tenor,

and have been a tenor all along.

Another thing is, don't sing your middle voice too loudly, or too fully.

If you're pushing your chest voice through your middle,

if you're getting too loud, if you're getting too strong,

if you're getting too chesty right through your middle and upper-middle voice,

you're probably not going to have the high notes.

Your voice is getting too strong, right there in the middle,

and it won't be able to hang on to all that weight.

And it's going to block you from being whatever

tenor you have wanted to be.

Next, is make sure that you use nasal resonance.

Some, "mmm" in your sound going through

that middle and upper-middle voice.

If you wait until you get to your

high notes to use your upper resonators,

you're never going to get to the high notes.

You need to bring those down into your middle, too.

That's one tip I can give you right now about

how to get that mix to go higher

and how to access those high notes.

Don't neglect that nasal resonance.

And then, also, baritones are used to singing and speaking, like I say,

pretty full, and pretty thick.

But one of the vocal cord coordinations that is going

to be necessary for you to get up into the tenor range,

is allowing your voice to be a little bit more, "wussy".

And sometimes a little bit more breathy.

You need to have these coordinations, too.

The opposite of baritone land, is something like this.

And while you won't sing that way all the time,

if you aren't experimenting as a pop singer with some

of the lighter and breathier sounds, you're also not going to be able to have

an easier time up in those tenor notes.

So allow for wussiness, allow for breathiness,

as one of your coordinations.

Next, I just want to say this, Randall, and all who suffer from a baritone curse,

being a baritone is not so bad.

I mean, come on, the world needs more baritones, right?

Everybody's singing high these days.

So, Randall, I know you want to be a tenor.

And probably so many guys out there watching this,

you want to be a tenor.

But maybe being a baritone is not such a bad thing after all.

You can cultivate your low register, your middle register.

You can have a strong chest voice in a nice rich baritone sound.

That might not be the worst thing.

If you have a glorious baritone voice and it's a true baritone voice,

it doesn't love to get up to the high notes.

You might just be better off, honestly, not being afraid of who you are

and cultivating that sound, something a little bit lower

than we're used to hearing.

When everybody's doing it one way, it's okay to do it another way.

You might be better off not trying to just hit high notes all the time.

Everybody's singing high notes.

Not everybody has to just be singing high notes all day.

Honestly, it gets a little tiring for the ear in pop music these days.

Don't you think?

When everybody's just belting high all the time,

it'd be nice actually to have a few more true baritones out there

in the pop, rock, R&B world, singing a little bit more mellow,

a little bit more rich and deep.

It's not such a bad thing.

So listen, if you want high notes,

there's definitely ways to get it.

If you want to be a tenor in pop rock music,

know that it's not something that's impossible.

You can absolutely do it.

But also, don't be afraid to be a baritone.

It's not such a bad thing.

So, whether you decide to break the curse or not is up to you.

But know it can be broken.

But also know, it's not so bad to be a baritone.

So I hope that's been helpful for you guys today as singers.

If you have questions that you'd like to see us answer on the show

you can send an email to: [email protected] [♪]

And we just encourage you not to lose that joy, don't lose that passion. [♪]

Don't let anybody curse your voice. [♪]

Not yourself, not anybody else. [♪]

Know that you can break whatever curse and move ahead with your voice [♪]

if you practice, and if you find a great voice teacher in your area. [♪]

If you guys are in New York City, [♪]

You can check us out at: www.NewYorkVocalCoaching.com [♪]

And if you like these videos you can visit:

www.VoiceLessonsToTheWorld.com [♪]

I'm Justin Stoney. [♪]

We'll see you next time. [♪]

♬