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Hey guys welcome back again to Ken
Tamplin Vocal Academy where the proof
is in the singing. I'm continuing my
DImash-a-thon
and before we get started if you wouldn't mind, please like
and subscribe to my channel, that would
be super awesome. I have a singing
course and the course is called How to Sing
Better Than Anyone Else and you can find
it
right here at Ken Tamplin Vocal Academy.com.
You can also check out my singing forums,
there's over 20,000
members in my singing forums right
now all discussing all these different
styles and, these amazing singers
including Dimash. Now I've gotten
so many requests for so many songs and
so many different things and i
can only get so many things cleared,
publishing wise so I'm doing as much as
I can with all your requests but one of them, one of the requests was
"Drunken Concubine" with "The Fifth Element" so
those are two separate songs. With this video I don't know who this
other person is in the video that's singing with Dimash so you guys
out there if you could help me out
please put that in the comments section
and I'm just gonna go through it, talk
about it and we could you know talk
about some tutorials on how Dimash got, and this
other gentleman got to you know his
singing styles and
and different licks and tricks for
voice and so forth. So let's just get
started and we'll just dive right in.
Here we go.
Okay now it's kind of interesting I
wanna, if it's okay with you guys,
especially all you that love Dimash, I want to point out some
things that he's, I'm sure he's doing
deliberately because he does have really
good diaphragmatic support.
I want to back this up and I want to
play this but if you, for you singers out
there so this is going to be directed
more
people that are interested in the voice
or wanting to learn more about the voice
or wanting tutorials on how Dimash sings.
I want to point some things out so he's
not really supporting the sound much at
all and he's sitting down on top of it so
it's a very, very, dare I used the word kind of subtle,
almost timid, timid kind of sound that he's
singing with so let me back this up again and let's take
a listen to this. Listen really closely
how, how little support he's using in the
sound and I'll reduplicate it in a second.
Here that.
Now, don't confuse singing light with not
supporting a sound so
he's obviously doing this deliberately. I
suspect and it's just my own take on
this, is that throughout the whole Asian
world, a lot of the Asian communities
speak very timid, they're very shy in the
way they speak. So I don't know this song would,
you know would, "Drunken Concubine", other people seem to know the
song so it must be popular but the original song must treat it that
way, it must kind of be sort of similar
so if someone else wants to post
where this song has appeared before
Dimash did it, it would help me to
understand this but he goes (sings) right. He's not going (sings)
whatever the melody is. He's not really
using a lot of strength in his abdomen,
it's very timid (sings)
hear, hear the difference. Like one of them has
authority and the other one is just
very, very subtle very, again very timid
in the way he's,
he's presenting it. So I want to point
that out because I really suspect it's
deliberate and I haven't really gone over this
with a fine-tooth comb. I wanted it to be
more
first impression as we're going through
it so I can make things that kind of pop
out you know more like a reaction but
with an
in-depth analysis so this is a vocal
analysis
you know with you know secrets, you know
singing secrets revealed kind of thing
so let's continue here we go.
See right there. (sings)
the minute he kind of, boom you can hear
the support immediately come in.
Let's do this one more time guys. For you
singers out there listen really closely
right. Check this out, here we go.
Very gentle.
Now before he goes into the chest part
that we just heard I want to add a
couple more comments along the way.
His intonation is bad A, flawless. I mean
he doesn't miss a note, he's not sharp,
he's not flat,
he has total command even when he's not
supporting the sound right.
That's, that's hard to do. The other thing
is whether you listen to Shawn Mendes or
you know Justin Bieber or whoever it is, most of
these, even Sam Smith to a large extent,
like most of these light R and B guys,
that's kind of how they sing all the
time right, you know
a, a Khalif, you know these other
different people. They have this this
very, very soft approach, there, there's
almost no real direct strength in the sound and this is more
of a a new thing right. Now I'm not saying that there
weren't or you know older R&B guys
that, that sang real genteel.
You know Al Green way back in the day,
you know you listen to some of his
earlier stuff but then you hear him kind of lean
into a sound and you know that he's got
some
engine revving in his tummy to get
him the sound
whereas most R&B guys don't have that.
This is, this is how, this is where they
reside in this kind of vocal sound
all the time so I wanted to point that
out along the way too for all you guys
out there that just only want to sing
R&B, if you only do this sound, you'll never
be able to get to a big sound like
Dimash and you'll forever kind of sentence
yourself or reside in that kind of sound
okay let's continue.
Now I want you to do yourself a favor, I
know I'm stopping a lot
but you guys, this will be worth your
ride, this is a lot of experience
talking to you about how these guys get
to where they, they've gotten.
So whoever this other gentleman is
that's singing, he sounds
a lot like a young Aaron Neville and if you don't know who Aaron Neville
is, look him up he's an older R&B guy, love Aaron Neville, love his voice. He
used a very big tremolo, warbly vibrato (sings)
you can hear this but you listen to Aaron,
now Aaron Neville's voice is really big
and warm and round, very different than this gentleman here
but I wanted to point that out too that
he has a very similar style. Now Aaron
did use a tiger in his tank when he
wanted, I don't know about this guy yet
because I haven't really heard him
and dissected this but we're going to
continue to dissect it as we go.
Again this is a vocal analysis and
tutorial so, and by the way if you like that kind of
vibrato, it's not a natural vibrato that
he's doing,
it's a forced vibrato. It's a tremolo or
a wobble
or you know literally a belly vibrato so it's, you can go (sings) and you can take your stomach (sings).
So if you want to get that kind of
vibrato (sings)
right and you can literally move your
stomach and pull air in and out of the
sound to get that kind of vibrato okay.
Now what Aaron Neville would also do is,
the velocity of his singing would change
dramatically so if you go back and
listen to this guy's of
velocity, meaning consistent loudness or volume. He goes (sings) right. So he's not going (sings)
right. He's not consistent with the volume he's (sings)
right and Aaron Neville was notorious
for doing that too so but he's not,
he's not using a lot of voice at all at
this point so
we'll see how this continues.
I like the chair Dimash is sitting in by
the way.
There's his growl.
OK now he is taking a very Asian approach,
kind of Chinese approach
to like Chinese pop singing as a
male
and he sounds sort of like a low tenor, he's (sings) right,
very nasally on the sound and a lot of
Asian pop does that, they're very, very
nasally on the sound so he's being very traditional and
being true to you know that style of music and so
let's back this up and take another
listen to this
and check this out, here we go.
Now when, as soon as Dimash steps up to
the plate,
Dimash is in true bel canto appoggio form,
he's going (sings)
right. He's covering the sound, he's
making a darker sound
and you can immediately hear his support
kick in.
Now I want to talk about support because
this is also really interesting.
Dimash is able to negotiate a lot of
different vocal fachs.
For those of you that don't, doesn't know
what that means, it's the German word for
type and there is sort of a system by
which they cast different voices in theater or
in plays or operas. You're the dramatic, you know
you're the big guy that comes and saves the day or the
the lady that comes and saves the day or
has the big thing
or you're spinto or you're you know
you're a lyric or you're you know
whatever, soubrette, and all these different vocal fachs that
fit in different characters. So there could be the villain
or there could be the the weeping woman or the, the young woman
singing about her lover so, so Dimash is able to reside in a lot
of different vocal fachs and when you do that, you actually have
to manipulate the vocal folds, the cords
themselves.
Now he's taking on more, a little bit
more
of like an alto contralto approach
because he's in his mid,
his, his tenor mid voice excuse me
is in an alto range
immediately but he's also predominantly
using almost
all head voice so let's come back and
listen to this again. He's not
in a belted chest sound, he's not using a
tenor voice. Now
the other thing I want to talk about in
tenor voice is, hopefully
when we get to some more of Dimash and
you guys go through the series with me,
this Dimash-a-thon, I'm going to prove to
you guys that he leans
much more towards a high baritone like
myself
in the way he approaches some of his
low notes, to prove that a lot of people
that I've argued with that he's a tenor
and he's
this, he's that, he's a contralto. Some
people, some people even
accused him of being what's called a
castrati. Let me talk to you
quickly about this. Let me tell you why
he's not a castrati guys. First of all
castrati was, you won't be needing this anymore you're
gonna sing high for the rest of your life.
It was something they did to
a lot of male youth early on, kind of
making them eunuchs
so to speak so that their hormones
didn't change and their voices stayed
high. Well I'm going to prove that he's not
because when he goes for his low notes,
he wouldn't, the hormones wouldn't have
grown in the castrati and in his case he sings lower notes
like an upper bari like myself. So we'll
get to that in a minute, I know it's a
lot of information but you guys asked so I'm giving you the
goods on Dimash, we're gonna take and do
an analysis of all this different stuff,
break it down and even discuss how he
gets to these places. So back to bel
canto, he's covering the sound. Let's listen to
this top again I know I'm backing up a bit. We're gonna come off
this other gentleman .
Hear the cover.
(sings) okay that's not low, he goes an octave
below that. Now
when these kinds of notes and I want to
hopefully get to this
if it's not too long I'm going to kind
of give you guys some ideas on this.
If you notice he's using what are called
intervallic
scales and these kinds of scales and
this song, my understanding was when this
song was written for The Fifth Element the movie, this movie,
I think that was the name of the movie, I'll
think of it a minute. You guys put it in
the description correct me that's fine,
is, it was all
done by synthesizers and it was never
supposed to actually be able to be sung
by a human. That was kind of the point of
doing it right.
So there was this gal, you can look
her up Disney Diva
Seven, she did it way before Dimash and she
does a fabulous job.
She did a lot of Disney stuff, she was
one of the voices for some of the Disney
singing stuff anyway and so she's able to go
through this, the original version and I
know Dimash does another version of this
where he kicks major butt and even speeds up a lot of this stuff
but. So the exercises for learning how to do that are (sings) right
and you do these different series of
exercises to get vocal
agility out of the cords to get
intonation and the placement of
the way the larynx are supposed to sit
in the throat. So you, you're probably
saying right now, Ken you do that way too
fast, slow it down so we can understand
this. Okay so I will and by the way the larynx
will change and and also the vowel placements in the
throat I should say, shall change depending on where you are in your
range. So let's just do this together
really quick. (sings)
just start there (sings)
okay and so what happens is, is
a lot of this kind of fancy operatic
singing and there's lots of names for it and
I'm not gonna go into all of the technical terms for this right now but
it's, we're just gonna start it, we'll do
it that way and we'll do it a little quicker
we'll go (sings)
right. Now a key to this is going back to
my videos on diaphragmatic support. Now I
cover all of this in my singing course. I go
from the most basic levels of singing,
all the way to the most advanced levels
of singing and I cover all of this
in my course. So anyway, so as you're
going through this I want you to have
your stomach (sings)
okay. Now we're gonna do it kind of fast
and the breaths won't be as big, they're
gonna be real short rest. (sings)
Little pitchy there sorry
and then the top from the top down is (sings)
let's do it slow. (sings)
So we learn the scale first, we learn the
placement in the throat (sings)
then we speed it up (sings)
right and, and again and I could even be
more exact as far as my pitch and stuff
I need to warm up to these kinds of
skills but that's how he gets to these
places so. Please don't think that Dimash just
walked in, naturally gifted singer that he is and
he is that, that he just walked right in and started singing those notes.
We train, they're called intervallic scales and
there's lots of different kinds and again I cover all this in my
singing course but that's, was the premise I believe
for originally writing The Fifth Element
was taking some of the most difficult
intervallic scales, incorporating that in
a song that a human
can't sing because in the movie it was a
robot that did it or it was you know all
effect, you know on a keyboard and it took someone like Dimash and Disney Diva
7 and some other people have done it
since,
to come in and actually reproduce this
as a human being okay.
So if you didn't know the backdrop to
that you didn't know how difficult that
song is to sing, especially maintaining that kind of
intonation, then now you know and you'll
know how difficult this really is
and how much training really was
required to go into it so I'm gonna back
it up one more time so you can hear this
intonation with a view towards the scales that we
just did and we'll go from there.
One more thing. When he went (sings)
right he's up really high and I'm not warmed
up to that just yet. I don't even know if
I could hit that I'd have to see what that note is. I'm sure I
can but anyway is, I'm gonna do this one more time guys.
Stay with me this is really cool. Notice when he's on his bottom notes, he
covers the sound, means he darkens the
sound
in true bel canto form as he ascends and
he goes up
he has to brighten the sound and bring
it into the front of the face
in order to be able to get the
intonation, the clarity
and the pitch placed correctly with the
vowels themselves.
Now in this particular case they're only
vowel sounds, he's not actually singing
words and singing words becomes a lot more
challenging than just singing notes like
this
but I want to back it up one more time
and I want you to listen closely to
how he darkens and covers the sound on
the bottom but as
he ascends and goes up, he has to open up
the sound
to get to the notes or he probably won't
be able to do it
okay. Check this out. I mean he probably,
knowing Dimash, he probably can but us
mere mortals and humans, we probably
wouldn't be able to do it. Okay so let's
back this up one more time. Here we go. Check this out and watch
closely and listen closely to these vowels.
Right.
Now notice (sings) he's got that very, very
again Asian, everything in the front of
the face so. There's not much color to this other
gentleman on, on the left side here. I'm not saying he's not a good singer,
I'm just saying he's not doing what
Dimash is doing, he's
he's doing his own thing and he's
staying within the domain of again, a
very bright face, a masky sort of sound
and very, very nasally in the sound. Let's
listen to him again,
compare, compare the color of the two
different singers.
By the way (sings) right.
His intonation isn't as cool. Listen
closely, he's kind of struggling a little
bit, fighting for intonation. By the way
there's a lot of little tricks you can
do too,
it's kind of cheating where you kind of
scoop quickly into a note
and you're kind of randomizing error for
intonation or pitch. Intonation and pitch
are words that are interchangeable. So he's
he's kind of struggling for pitch a
little bit
as he's going in and out of some of
these things. Listen closely it's, the
pitch isn't that accurate compared to
Dimash. I'm gonna back this up one more
time just so you can hear it right.
Here we go.
See how that (sings)
he's kind of all over the road there a
little bit right and he's using a lot of
strength and his abdomen and is struggling
to get there. Now listen to the next
interval he does.
See that (sings).
He's really sharp on (sings) and he struggles a little bit (sings). He struggles a little bit on that note
in the throat because he has not built
the same correct muscle memory
to go into these intervallic scales that
are back and forth, that's why they're so
hard. That's why this stuff takes a long time
to do. Now I suspect Dimash is going to
kill it in a minute.
Whistle.
Now let's talk about that okay so, Dimash
just came
from an upper baritone (sings)
right. Let me do this again. (sings)
and you don't hear a register break. I
want you guys to try that at home, you
you baritones or you even low tenors, I
want you to go (sings)
and I want you to try that scale and see if
you break, see if you go (sings)
See if you hear the register break or the yodel, what I call the speed bump but
let's see if you hear the passaggio break in your voice so
he's trained his voice like me and like
I cover in my singing course,
how to keep the throat to stay open, to
connect the chest voice
with the head voice and mixed voice in
between. Now so many people say what is
mixed voice, what is mixed voice, what is
mixed voice.
I've said it to you a million times, I
cover this also in my course
is it's a percentage of your chest
resonant
sound, combined with a reinforced
falsetto sound that sounds like your
chest voice, you work this up enough and
strengthen this up enough
to where you can have a percentage or
it's sort of crossing over and meeting
with chest and head and you mix a percentage of that sound back and forth.
That's exactly what Dimash just did, I
just proved it to you, this is how I'm
able to sing really high is because a lot of people think I'm, I'm
dragging a bunch of chest weight up to
the top.
Sometimes I do that for effect and it's
really dangerous but
most of the time, I hand it off or I
mix my voice
like, like, like you know feathering
across you know
a mixed percentage of chest, mixed and head
so I go through this passaggio break and I
end up in my head voice, I'm able to sing
really high
because I'm using reinforced falsetto to
match the tonal qualities
of my chest voice exactly like what Dimash is doing here. So I want you guys
to try this at home, it's not dangerous but see if you can
do this without the register break.
So cute, he sounds like Pikachu (sounds). So cute.
Okay I don't know this other guy from
Adam, I don't even know, it's so androgynous, I
can't tell, it's hard for me to tell the gender of
where this person is coming from. So
if you guys could help me out, you guys
that know who this is, if you could help
me out because he is
definitely residing in an Asian soprano
register right now
as though he that's his normal place that he you know, that this person
resides. So help me out on this because I
have no idea.
All I know is I'm, I'm doing a Dimash-a-thon and I'm focusing on Dimash ok.
Okay I want to point out one more thing.
One thing that's cool about the end of
this for me, is in most of Dimash's performances
he's so drenched in reverb and delay and it's so
washy sounding, it's hard to really hear
the actual
real naked, raw sound of his voice.
Listen to the end of this and it's a
real telltale, he's spot on he uses
that
but we now get to hear the real true
color and the real true, just
rawness of his voice without a lot of
effect on it.
So let me go back one more time and it
really demystifies
this giant, delayed, huge, roaring lion
sound
and gives you really the true tubular
tonal qualities of his voice.

So listen and focus closely on how he
actually sounds compared to a lot of the
other performances I've seen, again where
they use a lot of reverb and delay check it out.
Killer. Alright that was a killer
performance again of Dimash
you know the guy never misses a note
which is awesome so II'm going to
continue to do these guys if you like
what you heard please like it subscribe
and check out my next video.

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