Відео

Grazie Maestro Perna!

Yeah, it often does require some individual training with a teacher. Sorry you are struggling.

@@vocalfriperna do you do online lessons by any chance?

I do. You can book directly on my website. NicholasPerna.com I currently don’t have much availability due to a pending move this summer. Once August comes I’ll have more openings.

Around C5, we are getting close to most vowels having the first vocal tract resonance pass below the fundamental, but not quite for open e and o, and a is still quite a bit higher. The vocal folds can elongate with varying laryngeal heights. Even if certain physiology moves make things easier. Regarding belt, it really depends on how you define that word. There is no consensus. There are plenty of sounds I’d likely perceptually identify as some sort of mix that some folks might call belt. At that point we really get into the questions of how the spectrum has been weighted in terms of more areas than just the first vocal tract resonance. Also, vocal told dynamics of registration is a bit more complicated than the binary mode 1/mode 2 or chest/head. I guess all this to say, it just depends on how we define things and what we believe to be fact or not? I think the ideas you present are definitely one way of helping voice can work. It’s just that there are other ways as well?

@@vocalfriperna Yeah, it’s interesting how vague the (reasonable) definitions of voice production are. Johan Sundberg made that quite apparent to me when I read his book ”the science of the singing voice” Though, this does raise the question to me, given your academic and practical knowledge/skills when it comes to singing: how much does the vocal mechanism used at the extreme top of the operatic range differ between how baritones, tenors and basses sing? Is it the same thing physiologically going on in a bass singing a high E or F, a baritone singing high G-A And tenor singing high C? Michael Spyres mentioned in one of his videos that the support needed to be very different in the very high parts of his range, I myself don’t experience that, nor has any teacher I’ve ever had described that (though I’m myself a bit lower voiced) which makes me wonder what’s going on. It’s part of the reason why i expected the high tones to be somewhat mechanistically different from what we normally consider operatic voice, as a support difference to me indicates that the support might not necessarily be needed to keep a low(ish) relaxed(ish) larynx which I’d normally expect to see in classical voice

Hi. So many singing styles will sing in this pitch range without covering or injuring their voice. In operatic singing, there is certainly “risk” to singing overly open in passaggio regularly due to the likelihood of the open timbre being coupled with laryngeal raising and possible strain. For the singer’s self perception there is definitely a sense of ease when the voice turns over. So it definitely “seems safer.” But proving that would be difficult. There are musical theater singers, pop singers, and rock singers, among others, who sing in this pitch range with open timbre, who perform far more often than opera singers without injury. There are even cases of successful operatic tenors (and baritones) who sing with fairly open timbres through passaggio without turning or covering. Though most of those voices end up singing lighter repertoire (Mozart, Rossini). In the end, most sounds by themselves are not injurious. But repeated poor production does lead to issues.

Glottal Enterprises Nasalance system. www.glottal.com/theNASSystem.html

Voce Vista Video

Which software? VoceVistaVideo is around $99. The nasality visualization software comes with the nasometer and is quite a bit more expensive.

Oh yeah I mean the vocevista I had seen they had different levels, I think one is 400. Thanks

Mode 1. It’s still a robust CQ. Likely mid-60s. Been meaning to repeat this with EGG.

@@vocalfriperna Thank you so much for the reply. I have a follow up question: when does an operatic tenor need to switch to Mode 2 (unless he doesn't need to do that at all)?

@@Murzilka_Murzilka I think it’s a thing that happens when you create certain colors. You could certainly have some Mode 2 influenced sounds in something like “Je crois entendre encor.” But typically those moments in opera would be more effect, than normal production, so as to sustain acoustic carrying power and robustness of tone. Even in most Mozart. Britten operas would have some other colors at times. So in the end. It just depends.

Hi, thanks. Yes, trained as an opera singer, yes, I sing opera, and yes, it’s VoceVista.

Hi, the software is VoceVista Video. You can purchase it from sygyt.com

Which product? The nasometer is a Glottal Enterprises product. Voce Vista is available from Sygyt.com.

Would definitely give us more information. I unfortunately don’t have one in the lab. Quite a few studies have pointed to a moderate amount of VPO in transitional areas of voice in order to reduce instabilities (Sundberg, Gil, La et. al. & Echternach & my previous work)

@@vocalfriperna Thank you very much for replying so quickly. I'll have a look into your articles. Very interesting.

Different styles of singing require different noises. 😀

Yeah, I mentioned in another comment that right around D5 it likely is a head voice or Mode 2 function of my vocal folds. There are acoustic and aerodynamic reasons the sound still remains “chesty”. I will try to get another video made of this with electroglottograph readings as well to expand the discussion.

Glad you are enjoying!

Shoot me an email through my website or vocalfriperna@gmail.com 😀

I uploaded 4 teaching videos to a new playlist today. Enjoy!

Absolutely a change of laryngeal dynamics as well, no doubt. Likely right about D5. If I have a chance to try and repeat while wearing the EGG we could get some info possibly. I’m in the middle of two productions at the moment so it may take me some time to redo. Thanks for your patience.

I also wonder why you equate “close” with opera and “open” with theater - I think this is a misnomer, and I think most of what we know about resonances would say that vowels would also flip through open/close/whoop registers in theater, just maybe a couple tones higher than in classical since the larynx is higher, and with whoop being avoided most of the time for colloquial and stylistic reasons.

@@vocalfriperna would be cool to see the waveforms, thank you! No rush of course, thanks for the response

Hi! You can read more about taking lessons with me, find my rates, and contact me at my website. nicholasperna.com

The program is Voce Vista Video, available from Sygyt.com I think I had one of our Earthworks M30s hooked up for this. It’s an Omni flat response reference microphone.

@@vocalfriperna thanks!

It’s not really just a matter of lowering the larynx. In singing it’s never just one issue. Happy to book a session with you to try to help. You contact me through my website. nicholasperna.com

For sure. And the first video actually dealt specifically with passaggio in varying styles, so that is what started everything in the first place. 😀

In this video one Focusrite 2i2 and one Presonus Audiobox 96.

Hi Hector. We are using the Pi 4b 2 GB because that is what Christian Hoene from Symonics uses in his pre-built models when he sells the FastMusicBox. I’m uncertain if the 1gb would work. We also went with this specific case since it was both sturdy and has a built in fan.

@@vocalfriperna that's great news! I was assuming that it was the 4GB model so this is definitely a good thing! I'm looking put my own together (with a case w/fan!). The pi seems the best answer to solve a multitude of issues.... Thanks for putting together a great video - it's always good see someone going through the process. I appreciate you!

Hector Vasquez the tricky part it seems for most people is unzipping the OS and loading the OS onto the flash card. I’ve got a sheet for that too for Mac at least. Haven’t tried on a PC.

@@vocalfriperna I read as much at the Raspberry Pi download page. I can play with it in the next couple of days...

I really appreciate your time and experience, Nicholas! One last question - in looking at the Raspberry Pi OS web page (and assuming that's what you used), what version did you download? OS with desktop/recommended software, OS with Desktop, or barebones OS?

I just saw this. Lol.