Hey guys, welcome back again to Ken Tamplin Vocal Academy, where the proof is in the singing.
I decided to go ahead and do a series on Dimash, for several reasons.
But before I tell you what the reasons are, I want to encourage all my regular subscribers
out there who have said, hey, Ken, no, are you going to this reaction, you know, format,? Actually,
no, I really haven't changed anything in my formatting. In fact, for those of you that
like the regular songs that we do, I'm doing them just like I've always done. In fact,
we've increased an extra one per week. So we've actually doubled up on those, and we're still
doing the same tutorials. So nothing about my channel has changed, other than I've incorporated
and added these reaction videos. So the reason I want to do a series on Dimash, in fact I'm calling
it a Dimash-a-thon.
I'm going to do it in one day, and I'm going to put these all out on the same day. So you
guys can scrutinize them and copiously go through my comments and notes, is because one,
the guy's just awesome. I mean, he really is technically, probably one of the greatest,
if not THE greatest singer, especially for his age, in the world. So just phenomenal talent
Second, you know, he deserves it, man. I want to, I want to be able to promote talent.
where I see it and I want to give Kudos where Kudos are due. And again, he's just an amazing
guy. And third, also I want to comment on some technical aspects of his singing for
my singing friends out there, who I think could benefit from that along the way. So with that
said, I want to do WORLD'S BEST, and I'm also going to do a video on one of the judges that
made some comments and voted against him, and everyone's entitled to their opinions. So
I'm going to do that video after this one, and we'll release it succinctly, in succession
in the same way. So let's get started. Dimash world's best. Here we go.
Okay. Right out of the gate. I want to make a few comments on this. I've seen a lot of bashing and people
making fun of his accent, and his inability to sing great in English. Well, there's a
couple of things. Before I even answer that question.
He's got this beautiful, round, warm tone. It's really hard to sing with good intonation
in this registration down low, using all that air, being on a big stage, in-ear monitors,
on TV, Heart's pumping, you know, there's a lot of adrenaline, there's a lot of things
at play here that you're not seeing behind the scene. And he's able to manage this, professionally,
flawlessly. So I have to make that comment. Now let's discuss the English thing. You know,
give him some time. He's young, he's from Khazhakstan. You don't speak his language, you know, and
yes, you know, maybe in a lot of cases English is the world's, you know, language of the
world, so to speak. But, you know, give him some time, man, his vowels are cool and he's
got a lot of killer placement and, technically he's killing it. So let's appreciate him for
what he is, and let's move on, and then we can, you know, hopefully, I'm sure he'll want to
get, to be able to sing with better English skills. So let's continue.
Now, even now.
Right? He has this beautiful mixed voice.
Killer pitch, killer
intonations, he's got a great mixed voice, he's going in and out of it with a lot of sensitivity.
Great emotion, great passion. You know, he's killing it. Doing a killer job, man. Did I
say killing it? I meant killing it. Ha, ha, ha!
Cool. Alright, so another thing about this. With this judge's comment, so you're going to hear
me talk about this exact part of this later. He's breaking out into an old school bel canto,
appoggio, approach to singing, which is the old operatic approach. So he's,
he's taking a contemporary song and he's applying Bel Canto, or opera, to it. That's killer. It's beautiful.
He's just doing a fabulous job from how he grew up learning about singing, and he's incorporating
that into a contemporary song. So let's appreciate that. And he's not trying to just
be a contemporary singer. He's employing this, these other things that in his toolbox that
he's learned. I'm going to back this up a little bit because he goes into some frontal
mask here in a second, I want to discuss. Here we go.
OK. Now, personally, this is just a personal technical thing. By the way, have a singing course out.
It's called How To Sing Better Than Anyone Else. And I cover all of this stuff in my
course. He brings the sound really far to the front of the face, and uses a lot of mask.
So he goes
and he's real frontal on the sound. To me, personally, I think that's a little shrill
and I'd love to get him to Tuck the sound back up farther into the head, with a warmer
AH vowel like this.
Right? I'd rather have more warmth in the sound than
and real shrill in the front of the face. Now the, the frontal mask thing does
something else, too. It inhibits your ability to have warmth in changing, AH
AA, and eh vowels. It's a form of Twang. And I don't even really like using that word. It's just sort
of become the flavor of the month, a term that was coined or developed by Estelle voice
method, way back in the 70s. And I, you know, I try not to use flavor of the month
terms, cause I choose to use all Bel Canto terms, cause they, they're going to last
and be around a lot longer. So anyways, so going back to this, if you were
to Tuck that vowel up and make it a warmer sound. On the AH vowel, if you - I have in my
course, I call it all vowel sounds stem from it's the LAH! AH! Except EE and Ooh. Okay? EE and Ooh.
Now what happens is on the Ah vowel with a little bit of gesticulation in the face
and whatnot, you can contour the sound of that vowel, placing it high with the AH, with
a little tiny shifting, with some vocal tract shifting, and a little bit of shifting in the
face. So let me go through the vowels. I'll show you what I mean. If I sing AH, I'm going
to go AH, AA, e, E, Oh and Ooh.
Right? I can go through the vowels and maintain that nice, warm, round AH vowel, instead of
That real frontal, you know, nasally sorta sound. I'm not a big fan of nasality either, unless
you use it for effect. But anyway, he's killing it. You know? I want to add one more thing.
Sorry. Shut up Ken. Let's hear the singing. You know, this is going to be a little arrogant,
and I hope you guys can handle this, Okay? I'm not an arrogant person in that sense.
But I am comfortable in my own skin and I know who I am. And I know what I can do and
I know what I can't do. And I have spent the last 35 years of my life, you know, studying
voice and getting better and better and better. So I finally got my voice - well, I thought, to
a place where I felt like I could, literally, sing anything. I'm kid you not. I have my
voice at a point where I really feel like I could sing, literally, almost anything.
Okay? Including soprano roles, including all kinds of stuff. As a baritone that has stretched his
registration. Until I met Dimash, like I said, the guy's an alien from another planet. I
can sing comfortably up to a c six, and this guy just goes through the roof. Cat Whistle,
dogs and cats come running when he sings his whistle register. So this is one guy, man.
I met my match. This is one guy I can say, man, I am not worthy. I can't get to some of
the stuff. Now there's going to be a little bit of a dispute, again, with another vocal
coach, and other people with their opinions and whatnot, of how they see his technical,
vocal calisthenics. And we're going to talk about that in my next session here. But
let's finish this off and give Dimash credit where credit's due. Okay, here we go.
Right?
Serious!
You know, he's like way in the stratosphere. So now he is able to command not just the
notes, but the intonation of notes, and to shift the vocal tract through those notes, in order
to make them comfortable at each registration of his voice. So it's not just that he could
sing high notes, it's that he knows how to place and create the vocal tract in a way
that shapes those vowels to get through these melisma's and some of the different,
you know, runs and licks and whatnot that he's doing with his voice. Okay, let's continue.
That's awesome. You know, when I was younger, guitar was my first instrument. Actually I'm
maybe a better guitar player than a singer, or at least at one point in my life I was,
right? And they had the two pickups on the guitars, and you guitar player
guys out there will all appreciate this. And you used to be able to turn off the volume on
your back pickup of your guitar, and there's a toggle switch that goes between pickups
so you could turn it off the volume and have it cranked up and go
on your guitar. And he's actually
basically doing that with his voice, which is really cool. But notice his command when
he comes back in. There's a little trick to this, and I want to tell you, my singing friends
out there, what this is. He's not slamming the vowels. Because it shocks the cords, right?
And then it has to have time to find that open throat AH vowel. So he's throwing this
tiny little "h" into the sound each time he does it.
Right? So when he does that, it's not shocking the cords. What it's doing is it's actually
opening the throat, reseating the vowel and the AH vowel to give them the ability to hit
that intonation over and over again. I'm going to discuss this more when I do his version
of Diva Dance, which is coming up in my, Dimash-a-thon. So I'll probably do diva dance right after
I do the judge's comments, because I think it's really a worthy song. And anyway, let's
continue. Let's rock. Here we go.
Killer!
I mean, he's just end to end. The guy's just killing it. So from a technical aspect, Dimash
is technically one of the greatest singers in the world, as far as I'm concerned. I've
seen a lot of singers. Now again, there's different styles, and there's no such thing
as "the greatest" cause there again, it's like, we're going to talk about art
is given over interpretation, but I mean from a technical standpoint, the guy really
knows what he's doing. All right? Thank you so much for joining me guys. God bless all of
you, and stay tuned and stay with us for the Dimash-a-thon.
Until next time. Peace.
Out.
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