the question would be: how does your lower and middle voices sound? Are they strong and stable? If not, don't worry about anything above G4 until that part of your voice is stable, strong and flexible.
I finally did it oh my god. After trying to sing from head voice to chest for 3 years I finally did it without breaking. But I could only do it for a few notes.
I have been trying to learn singing for 5 years, when I compare the differences it's unimaginable how bad I was, I am still not good but next 5 years pretty much I will be much better, anyway I want to learn singing for myself because it's stress relieving, so I don't care
Nicely explained- reaching the high notes through what is termed: voca faringeal which transitions from chest voice through passagio to modify falsetto to be instead: head and chest voice maintaining a solid tenor timbre. Your voice illustrates this appoggio mechanism perfectly clear. It’s the virile-vulnerable quality we need in opera once mastered by Corelli (Di Stefano, even Pavarotti) who can break your heart as few tenors can today with his voce faringeal or, pharyngeal voice. Corelli sustained this eclectic technique into diminuendos in L’anima ho stanca, Adriana Leouver, Cilea. Listen at, “Assai…” his diminuendo, portamento to crescendo is performed with effortless heartfelt tenderness from a tenor who could range from lirico-spinto to dramatic tenor. It’s quite moving.
I think you have a beautiful voice. I'm a soprano though. I was looking for some tips on operatic technique and stumbled into your video. I think you have a very beautiful voice.
Very very useful!!! Thank You very much!! I like your videos and teachings, as my challenges are exactly those you say... And one can really do the exercises with you together and hears immediately if something is wrong...
You have a lovely voice. I respectfully disagree with what you are saying, but I admit that it is the prevailing vocal theory of our day. However, the anatomy of the voice is very different than what is being taught. It just is. The voice box is on a teeter-totter, it goes up and down (like shifting gears) allowing the vocal cords to stretch and relax depending on the frequency (pitch) they need to produce. It's like violin strings. If you understand which muscles throughout your body to use, and which NOT to use, and you don't push too much air through the chords, then the vocal mechanism can fluidly go up and down without any breaks in the sound. When there are breaks in the voice, it simply means there is tension and (almost always) too much air. Head voice is the result of too much air and the forceful (yet involuntary) separating of the vocal chords to prevent that air from overwhelming them. All the other machinations: cover this and that - it's all meant to negotiate around the tension and too much air force. Fix those two things, and the voice frees and opens. The 'covering' happens NATURALLY, without any modification: as the voice goes up, the voice box moves, the back of the neck expands, the front of the throat relaxes... this has the 'feeling' of covering - but it's really just the involuntary movements at the back of the neck to make more room as the larynx rises (slightly) for higher notes. Please don't send me lots of hate messages for this post. But I do feel a sense of responsibility for passing this on, because it's a minority opinion, but a really healthy singing method that has been employed by countless great singers (some of whom have TALKED about covering, because that's the SENSATION they feel, while others have argued against any notion of FORCEFULLY, voluntary covering the sound).
+Nova Safo I guess I'll be the first to say. Thank you, this video wasn't all that much simple in terms of breaking down the biological and practical aspects of the head voice and passagio. I'm currently in High School trying to do State Ensembles, thanks for not wasting 3:57 minutes of my time telling me shapes of my vowels but instead giving me a good run through of what my vocal cords should adjust accordingly (even though it was not directly explained).
The key word is "modify". One should not modify any vowel or word, but "shape" to make the tone either darker, rounder, or brighter, but the fundamental sound of the word should not change. It should still sound like the word you mean.
well actually some resonance does happen in the nasopharynx in the rear of the nasal cavity. It is true no sound can resonate fully in the frontal part of the nasal cavity, that is sometimes where the sensation of the mask is happening.
from USA Oregon Springfield of who i am Auditory processing disorder (APD), also known as central auditory processing disorder (CAPD), is an umbrella term for a variety of disorders that affect the way the brain processes auditory information with Dyslexia from i want to thank you so much this video i already learning how to playing piano .take lesion .and soon Vocal lesion I real want to be a (Great Signer) (I LOVE TO SIGN) but THnak you!!!
Like I said, yes sound does not resonate inside the nasal cavity in the forward position (often referred to as "masking") but that is where the sensation feels and that is what is important. I tell my students all the time that the sensation of what's happening is what's important not what is technically not happening. You're basically arguing minutia that is unimportant to the singer.
Vowels definitely need to be closed in the Passagio. I find his singing a bit more "dark" than just closing the vowels, but the understanding is accurate, according to my training.
Nice video thank you, a question though if your modifying through the passagio what happens to the word your singing? modifying would limit your natural expression and the way you feel about the song your singing , the words are all important . Thankyou
Good.. Lots of people on the tube talking without even singing and talking like they have no idea about how to really manage passaggio and, sometimes, head voice in general.. and even live lessons can be really delusional. I Remember my First canto teacher and She Just used to tell me to throw sounds somewhere up but not really clear where.. I felt really frustrated at the time. And another Just break me with "liptro" (the brrrr sound I dont know how it's spelled) over and over. And I wasnt able to Sing High notes Just with that. I had later on to understand my instrument Better. Anyway, really nice and professional video..
Are there other males that when they go to sing higher their voice cracks a little and it doesnt seem like you have power there or is it just me? It may be my puberty but idk :P
So when the voice cracks it means the pressure was too much for your vocal chords. That "crack" is an indicator of tension which hurts over time. So basically, when your voice cracks, it is asking you to relieve the pressure on your vocal chords. The thing is that high notes aren't about power or "pushing", they need as much relaxation and width as possible in the larynx by pushing the air from the diaphragm and you also need space in your head for resonance. For that, you need to raise your palate, lower your jaw, get your tongue out of the way and open your head cavities. With proper acoustic conditions, high notes should sound flawless.
Like everything else...I gotta keep watching this and practicing it until it registers. My voice is the next thing I need to build...I'm already fit everywhere else 😉
Bodies that we carry along, and therefore our voices, are all different. Vowel modification (covering) will work in one way for some and in another way for others. This video should end with a statement: “do not even try it at home. Get a voice teacher”. Singing above passagio takes years. I mean, of course, singing with round and consistently even voice. The opera singer who authored this video knows it very well, albeit, he fails to mention it.
Probably, but there is still a difference since tha passagio is a mix that should carry and resonate the pop mix have amplification so no need to carry the voice
EVERYTHING happens vocally in your throat. Especially pharyngeal sounds. If the sound is whiny, screechy, it happening more in your pharyx (windpipe). Youa re over squeezing the pharynx
I have a question: When the passagio is reached, should we ALWAYS modify the pharinx for the wowels? There is growing trend of singing "natural" vowels on the opera stage thus deminishing the volume of the voice but keeping the diction precise, as seen and heard on stage in France and partially in Germany and Austria.
then your middle voice is not strong and resonant. as you are blending out of your modal voice, it is going into either nasal sound or any overly pharyngeal sound. If your middle voice was strong and resonant you'd be able to keep the tome of the the lower notes are you blend over into head resonance.
IMO that is not the same as sound resonating in the nasal cavities. The nasal cavity is sealed off during non-nasal singing (ideally, even if reality is much more nuanced). So there is no real resonance in the nasal cavities, the sympathetic vibrations are just that - vibration transmitted by tissue/bone. There is a study by Sundberg on four diff. singers that showed varying results. Not that it's of statistical value, but the most accomplished singer showed the least 'nasal leakage' s.t.s.
This video is very confusing and I would implore anyone seeking serious vocal instruction to abandon these online courses in lieu of someone who actually teaches Caruso\Lamperti method. The narrowing of your voice is indeed present in this video, but some things are not, e.g. the proper emphasis of pressure to allow vocal freedom in the upper registers, and a more stable positioning. Starting lighter on the bottom notes allows you to save the full amount of pressure for the top of whatever line you're singing. It might *feel* proper to open up when you get to the top, but you will actually get more resonance if you focus solely on bouncing your sound off of the hard palate and ever-so-slightly flexing your front lip muscles (like a fish face, but almost completely unnoticeable). Just as there is a gradual closing of the voice to get to the top of the passagio, there is a gradual opening to get to the top of the next register as well. This leads to the voice having an 'hourglass' shape, which should be smooth and effortless constantly. This effort and proper breath pressure is gained by pushing solely from your diaphragm , and relaxing\shifting your weight towards the belt buckle when you go higher, while always opening ever so slightly. All scales and transitions must be smooth and controlled, or there is no balance. Good singing technique does not rely on vowels, it is about positioning. All of those 'oooo-eeee-ooohh-aaaahh' exercises are great for vowel development, but the muscles inside your mouth and face (primarily used for chewing) affect your vocal mechanism greatly, which is why throat positioning is key in developing a healthy passagio. Only when your passagio is healthy can you successfully have a higher upper range. Only when your chest voice is healthy and engaging properly (diaphragm activating a microsecond before the not so you're not 'jumping onto it' and no tension or changing of jaw position, just an open and relaxed jaw) can you have a healthy tone to go into the passagio with.
can I send you an rezistration with my voice? I don't know what type of voice I have my comfortable low note A2 and I get to G2 sometimes and to F2 but I force myself again on the chest voice if I scream C5
he has a nice voice of course, but I thought it was just slightly under pressure towards the end (throat not open enough), so it didn't ping like it should.
Hi .I have a question and i really appreciate that if you answer my question if i do this exercise everyday , how long does it take to sing high notes like F or G?
Masoud Rashtizadeh depends on your voice type, but in general 3-4 months to achieve somehow audible high G. I also would suggest you to read J.Hines book great singers on great singing and to listen good recordings, many learned by imitating. If your voice is lyrical try to practice Il Provenza (Germont aria) from Traviata it goes to F#, if you have bass-baritone or dramatic baritone voice try Aria "Eri Tu" it has both high F and G you can listen to Bastianini recording on UA-cam. Goos luck
sir i am from india i heard your teacher in singing. i cant reach the high notes.when singing high notes all the air went out from body then i struck in throat i cannot sing next word if i want to sing then i should have to take next breath plz help me
reply # 2, because information as faulty as this needs to be rectified. Seriously, you need to look up the studies Vennard did on the subject of nasal cavities. You have to come to terms with the fact that, though it feels like it, the nose is not a resonator. Proprioception is one thing, reality is another. Indulge me: how does the sound travel from the vocal folds to the nasal cavities (though it doesn't) if there is no empty space between the two to transmit it?
Lol I think these comments are funny.... in another video he clearly says he's not a tenor.... he's a baritone.... so a G4 is great if you really think about it.
1. Imposto is not ping. Imposto is the physical setup of the throat. Squillo, if anything, is the word you're looking for. 2. There is no resonance to be had in the nasal cavities. That is bone conducted vibration you're feeling. If there the sound escapes into the nasal cavities, you are singing nasally. Science agrees. 3. Your passaggio is open, it's not turned/covered. 4. I'm not writing this because I'm trying to be a douche, but you need to be more careful with the statements you make,
This is not unimportant. It's just not important for everyone - i.e. those who can achieve the coordination that generates the sensation of forward resonance. The rest, less phonationally fortunate, will not. They will most likely sing nasally in an attempt to sing 'forward'. That's not unimportant. I agree about sensations. I forget science when I sing. But you don't have to be a scientist to know that it's proper fold adduction that gives mask sensations. This video is full of misconceptions.
ehm do you even know what you are talking about? If you cant sing the notes with your chest voice, you cant count them to your register of singing notes. did you mean with G6 (g``````)? well you cant sing that note, even opera singer (soprano) cant sing that high "g" . nobody have a register of 6 octaves, either you are counting an octave wrong, or you try to scream the notes (high note) and screw the lower notes out of yourself, but thats not singing at all....
this guy is a light tenor. He didnt sing one note above his own passagio, Why take his advice? Demonstrate these exercises on a pitch higher than G and then we'll be in business :)
mar10vasq I think it depends on the person singing. I can fully control my diaphragm while I sing and even talk, and I know most of my other friends from the choir can control it as well.
Josh guessit Hi Josh. This is mostly an old fashioned misconception. What people think is diaphragmatic control is the abs and obliques working. The diaphragm has no sensory mechanism to be 'controlled'. It is merely there to keep you alive by making you breathe. As somebody who works with damaged voices I have always found the minute the student forgets all about that bit of the mechanism and concentrates on a proper working larynx, the sound and easy of singing is instantly better. Good breathing comes from good vocal production, not the other way around.
I tend to think that it is a combination of the abs and the diaphragm, that they both allow just a bit more air flow. If you think about it, you can control some of your involuntary muscles with a bit of concentration, such as blinking and breathing.
YEAH, because everyone needs to work on the pasaggio to sing G4. This is mediocre, if you want to give an example, do something that the person you are teaching cant do. If you claim to be a profesional singer, give a proper sample of your abilities before, or at least leave a link to them. G is no relevant note to give an example about the passagio, because it can be sung in chest, he should demostrate an A or higher, thats what the passaggio is for.
With the exception of pure leggieros, most tenors have a break in modality starting around F4 and ending around G4. Anything above that is high notes. Heck, some dramaticos experience passaggio as low as D#4. Whilst I'm not particularly fond of the quality of instruction in this video, when the topic is negotiating passaggio a G4 is sufficient.
No, not at all, might be for some cases, but not all cases. I can sing big and nice F#4 and G4, and mayve even get to G#4, but still struggle to get higher. Plus, he didnt realy sing in a big covered tone for an opera.
It is _possible_ to sing a completely open F#4 and G4, but we're talking operatic singing here. If you sing uncovered Gs on a live stage you won't have a long career (if at all). There's a reason why every single professional operatic tenor throughout recorded history covers F4-G4, it'd be impossible not to. Imagine being a Wagnerian tenor pushing through an orchestra of 130 instruments for 5 hours without covering. You'd die 20 minutes in.
No one questioned your ability to cover a G4. We're discussing where the break in modality occurs in an operatic tenors vocal range, you're confusing it for a personal attack on your ability to sing (which it is not). Ironically though, an inability to access high notes (A4 and above) points to a poorly negotiated passaggio. Now _that's_ an epic fail! ;)
This guy doesn't blink. He has shit to do. No time for blinking
jacob lahr The camera turns off, and then he turns and screams, rubbing his eyes like a boss. :) Sorry Videojug.
jacob lahr So I guess 3:11 is your favorite part of the video
What if he blinks the exact time you did?
Anyone else die laughing when it got to the close up of his eyes 👀 while he’s making that funny sound? lol
I'm laughing from just reading your comment😂
You mean this point? 3:08 💀
there's some kinda comedic timing like a 90s cartoon 💀
His head voice is lovely.
the question would be: how does your lower and middle voices sound? Are they strong and stable? If not, don't worry about anything above G4 until that part of your voice is stable, strong and flexible.
I finally did it oh my god. After trying to sing from head voice to chest for 3 years I finally did it without breaking. But I could only do it for a few notes.
I have been trying to learn singing for 5 years, when I compare the differences it's unimaginable how bad I was, I am still not good but next 5 years pretty much I will be much better, anyway I want to learn singing for myself because it's stress relieving, so I don't care
One of the best lessons i have ever seen. Thanks for the instruction!
Nicely explained- reaching the high notes through what is termed: voca faringeal which transitions from chest voice through passagio to modify falsetto to be instead: head and chest voice maintaining a solid tenor timbre. Your voice illustrates this appoggio mechanism perfectly clear. It’s the virile-vulnerable quality we need in opera once mastered by Corelli (Di Stefano, even Pavarotti) who can break your heart as few tenors can today with his voce faringeal or, pharyngeal voice. Corelli sustained this eclectic technique into diminuendos in L’anima ho stanca, Adriana Leouver, Cilea. Listen at, “Assai…” his diminuendo, portamento to crescendo is performed with effortless heartfelt tenderness from a tenor who could range from lirico-spinto to dramatic tenor. It’s quite moving.
I think you have a beautiful voice. I'm a soprano though. I was looking for some tips on operatic technique and stumbled into your video. I think you have a very beautiful voice.
What odd camera work
Ikr bro frfr yo
Yep.
Very very useful!!! Thank You very much!! I like your videos and teachings, as my challenges are exactly those you say... And one can really do the exercises with you together and hears immediately if something is wrong...
3:08 is creepy closeup bit
He reminds me of a Siberian Husky dog.
he looks like he could be Niall Horan's dad
Wait, how did this get 36 likes? He looks human to me...
I totally see it.
My Excercise as a Base Baritone GOING UPWARD is the phrase - " HUNGARY-ANNA "
because it develops all parts of the voice.
how do you do this one
Thank you a wealth of information here,, I'm having difficulty with the passagio although i sing mainly pop
3:12 The fisrt time I see this guy blinking. O.o
Maybe he has glass eyes. LOL
0:43
Mislav Hilc he did not blink lol
0:44,1:40, 2:37 you missed it
02:25
You have a lovely voice. I respectfully disagree with what you are saying, but I admit that it is the prevailing vocal theory of our day. However, the anatomy of the voice is very different than what is being taught. It just is. The voice box is on a teeter-totter, it goes up and down (like shifting gears) allowing the vocal cords to stretch and relax depending on the frequency (pitch) they need to produce. It's like violin strings. If you understand which muscles throughout your body to use, and which NOT to use, and you don't push too much air through the chords, then the vocal mechanism can fluidly go up and down without any breaks in the sound. When there are breaks in the voice, it simply means there is tension and (almost always) too much air. Head voice is the result of too much air and the forceful (yet involuntary) separating of the vocal chords to prevent that air from overwhelming them. All the other machinations: cover this and that - it's all meant to negotiate around the tension and too much air force. Fix those two things, and the voice frees and opens. The 'covering' happens NATURALLY, without any modification: as the voice goes up, the voice box moves, the back of the neck expands, the front of the throat relaxes... this has the 'feeling' of covering - but it's really just the involuntary movements at the back of the neck to make more room as the larynx rises (slightly) for higher notes. Please don't send me lots of hate messages for this post. But I do feel a sense of responsibility for passing this on, because it's a minority opinion, but a really healthy singing method that has been employed by countless great singers (some of whom have TALKED about covering, because that's the SENSATION they feel, while others have argued against any notion of FORCEFULLY, voluntary covering the sound).
+Nova Safo I guess I'll be the first to say. Thank you, this video wasn't all that much simple in terms of breaking down the biological and practical aspects of the head voice and passagio. I'm currently in High School trying to do State Ensembles, thanks for not wasting 3:57 minutes of my time telling me shapes of my vowels but instead giving me a good run through of what my vocal cords should adjust accordingly (even though it was not directly explained).
you're very welcome! Best of luck with State Ensembles!
wow...nice post. Do you sing?
+Mick Fisheye he is GREAT tenor! I can attest to that!
Nova this is great! I miss hearing you sing! but love your reporting!
God bless you and your awesome vids!
The key word is "modify". One should not modify any vowel or word, but "shape" to make the tone either darker, rounder, or brighter, but the fundamental sound of the word should not change. It should still sound like the word you mean.
well actually some resonance does happen in the nasopharynx in the rear of the nasal cavity. It is true no sound can resonate fully in the frontal part of the nasal cavity, that is sometimes where the sensation of the mask is happening.
from USA Oregon Springfield of who i am Auditory processing disorder (APD), also known as central auditory processing disorder (CAPD), is an umbrella term for a variety of disorders that affect the way the brain processes auditory information with Dyslexia from i want to thank you so much this video i already learning how to playing piano .take lesion .and soon Vocal lesion I real want to be a (Great Signer) (I LOVE TO SIGN) but THnak you!!!
Like I said, yes sound does not resonate inside the nasal cavity in the forward position (often referred to as "masking") but that is where the sensation feels and that is what is important. I tell my students all the time that the sensation of what's happening is what's important not what is technically not happening.
You're basically arguing minutia that is unimportant to the singer.
He blinks at 3:12 after creepy close-up!
Man Chul hahahahaha wtf
Vowels definitely need to be closed in the Passagio. I find his singing a bit more "dark" than just closing the vowels, but the understanding is accurate, according to my training.
I so like this guy british tone in speaking English!
Great! I appreciate your lesson.
Nice video thank you, a question though if your modifying through the passagio what happens to the word your singing? modifying would limit your natural expression and the way you feel about the song your singing , the words are all important .
Thankyou
Good.. Lots of people on the tube talking without even singing and talking like they have no idea about how to really manage passaggio and, sometimes, head voice in general.. and even live lessons can be really delusional. I Remember my First canto teacher and She Just used to tell me to throw sounds somewhere up but not really clear where.. I felt really frustrated at the time. And another Just break me with "liptro" (the brrrr sound I dont know how it's spelled) over and over. And I wasnt able to Sing High notes Just with that. I had later on to understand my instrument Better. Anyway, really nice and professional video..
Are there other males that when they go to sing higher their voice cracks a little and it doesnt seem like you have power there or is it just me? It may be my puberty but idk :P
So when the voice cracks it means the pressure was too much for your vocal chords. That "crack" is an indicator of tension which hurts over time. So basically, when your voice cracks, it is asking you to relieve the pressure on your vocal chords. The thing is that high notes aren't about power or "pushing", they need as much relaxation and width as possible in the larynx by pushing the air from the diaphragm and you also need space in your head for resonance. For that, you need to raise your palate, lower your jaw, get your tongue out of the way and open your head cavities. With proper acoustic conditions, high notes should sound flawless.
Like everything else...I gotta keep watching this and practicing it until it registers. My voice is the next thing I need to build...I'm already fit everywhere else 😉
Passagio, now that's a fun word to say.
Hallo und guten Tag! Ein guter Beitrag, und Ihre Stimme erinnert mich an Mario Lanza und ich hoffe das Sie noch lange Leben. Bravo.
Wow, that was really great, Thank you!
Thanks for the video. God bless you.
Bodies that we carry along, and therefore our voices, are all different. Vowel modification (covering) will work in one way for some and in another way for others.
This video should end with a statement: “do not even try it at home. Get a voice teacher”.
Singing above passagio takes years. I mean, of course, singing with round and consistently even voice. The opera singer who authored this video knows it very well, albeit, he fails to mention it.
Fantastic. Thank you.
I like your tipps, they are very useful. Thank you.
Singing through the passaggio is the same thing which pop singing calls mixed voice?
Probably, but there is still a difference since tha passagio is a mix that should carry and resonate the pop mix have amplification so no need to carry the voice
EVERYTHING happens vocally in your throat. Especially pharyngeal sounds. If the sound is whiny, screechy, it happening more in your pharyx (windpipe). Youa re over squeezing the pharynx
Jungkook Daily vocal exercises please.
Thanks for the post, so helpful
this seriously helped out a lot
Can I borrow your voice for this sunday :/
I have a question: When the passagio is reached, should we ALWAYS modify the pharinx for the wowels? There is growing trend of singing "natural" vowels on the opera stage thus deminishing the volume of the voice but keeping the diction precise, as seen and heard on stage in France and partially in Germany and Austria.
Thank you.
nice i like your voice
Was the video lighting bright enough?
Bravo!!! 👏👏👏
Thank you
then your middle voice is not strong and resonant. as you are blending out of your modal voice, it is going into either nasal sound or any overly pharyngeal sound. If your middle voice was strong and resonant you'd be able to keep the tome of the the lower notes are you blend over into head resonance.
Best freaking video ever!
Good Job!
3:09
That's when he captures your soul in a Poke ball.
I am a female alto range C3 to D5. Passagio in alto parts is killing me. Parts seem to sit there in D4-G4.
IMO that is not the same as sound resonating in the nasal cavities. The nasal cavity is sealed off during non-nasal singing (ideally, even if reality is much more nuanced). So there is no real resonance in the nasal cavities, the sympathetic vibrations are just that - vibration transmitted by tissue/bone.
There is a study by Sundberg on four diff. singers that showed varying results. Not that it's of statistical value, but the most accomplished singer showed the least 'nasal leakage' s.t.s.
I love you man 🎨
Is it natural to exp.. some bravration on your throat? Im curious and im exploring my voice tnx
This video is very confusing and I would implore anyone seeking serious vocal instruction to abandon these online courses in lieu of someone who actually teaches Caruso\Lamperti method. The narrowing of your voice is indeed present in this video, but some things are not, e.g. the proper emphasis of pressure to allow vocal freedom in the upper registers, and a more stable positioning. Starting lighter on the bottom notes allows you to save the full amount of pressure for the top of whatever line you're singing. It might *feel* proper to open up when you get to the top, but you will actually get more resonance if you focus solely on bouncing your sound off of the hard palate and ever-so-slightly flexing your front lip muscles (like a fish face, but almost completely unnoticeable). Just as there is a gradual closing of the voice to get to the top of the passagio, there is a gradual opening to get to the top of the next register as well. This leads to the voice having an 'hourglass' shape, which should be smooth and effortless constantly. This effort and proper breath pressure is gained by pushing solely from your diaphragm , and relaxing\shifting your weight towards the belt buckle when you go higher, while always opening ever so slightly. All scales and transitions must be smooth and controlled, or there is no balance.
Good singing technique does not rely on vowels, it is about positioning. All of those 'oooo-eeee-ooohh-aaaahh' exercises are great for vowel development, but the muscles inside your mouth and face (primarily used for chewing) affect your vocal mechanism greatly, which is why throat positioning is key in developing a healthy passagio. Only when your passagio is healthy can you successfully have a higher upper range. Only when your chest voice is healthy and engaging properly (diaphragm activating a microsecond before the not so you're not 'jumping onto it' and no tension or changing of jaw position, just an open and relaxed jaw) can you have a healthy tone to go into the passagio with.
amazing!
can I send you an rezistration with my voice? I don't know what type of voice I have my comfortable low note A2 and I get to G2 sometimes and to F2 but I force myself again on the chest voice if I scream C5
I don't understand at all how you say you have 6 octaves....
he has a nice voice of course, but I thought it was just slightly under pressure towards the end (throat not open enough), so it didn't ping like it should.
Hi .I have a question and i really appreciate that if you answer my question
if i do this exercise everyday , how long does it take to sing high notes like F or G?
Masoud Rashtizadeh depends on your voice type, but in general 3-4 months to achieve somehow audible high G. I also would suggest you to read J.Hines book great singers on great singing and to listen good recordings, many learned by imitating. If your voice is lyrical try to practice Il Provenza (Germont aria) from Traviata it goes to F#, if you have bass-baritone or dramatic baritone voice try Aria "Eri Tu" it has both high F and G you can listen to Bastianini recording on UA-cam. Goos luck
thank you so mach
sir i am from india
i heard your teacher in singing.
i cant reach the high notes.when singing high notes all the air went out from body then i struck in throat i cannot sing next word if i want to sing then i should have to take next breath
plz help me
Beyonce has Plussaggio(+)
this man is giving you vocal advice for free and you STILL think he owes you something?
reply # 2, because information as faulty as this needs to be rectified.
Seriously, you need to look up the studies Vennard did on the subject of nasal cavities.
You have to come to terms with the fact that, though it feels like it, the nose is not a resonator. Proprioception is one thing, reality is another.
Indulge me: how does the sound travel from the vocal folds to the nasal cavities (though it doesn't) if there is no empty space between the two to transmit it?
Lol I think these comments are funny.... in another video he clearly says he's not a tenor.... he's a baritone.... so a G4 is great if you really think about it.
PASSAGGIO :) thanx ;)
can i learn tenor even if i cant sing w/ tenor voice? or everyone can learn tenor voice?
Tenor is a timbre, voice color. You don't learn tenor, you've born one and learn to sing properly.
1:22 1:52 is matter best important
Is that Tristan's father?
Not bad for a baryton!!!
But I'm a low baritone :`(
1. Imposto is not ping. Imposto is the physical setup of the throat. Squillo, if anything, is the word you're looking for.
2. There is no resonance to be had in the nasal cavities. That is bone conducted vibration you're feeling. If there the sound escapes into the nasal cavities, you are singing nasally. Science agrees.
3. Your passaggio is open, it's not turned/covered.
4. I'm not writing this because I'm trying to be a douche, but you need to be more careful with the statements you make,
A beginners. Where are the high tones. If you want to learn something from me. let me know.
2:40 very intense camera change. eyes piercing
this video is basically the same as the tenor video you put up. wtf
Espanish please
Passaggio, double g.
Relevance?
This is not unimportant. It's just not important for everyone - i.e. those who can achieve the coordination that generates the sensation of forward resonance. The rest, less phonationally fortunate, will not. They will most likely sing nasally in an attempt to sing 'forward'. That's not unimportant. I agree about sensations. I forget science when I sing. But you don't have to be a scientist to know that it's proper fold adduction that gives mask sensations. This video is full of misconceptions.
very english sound. not an italian opera technique
ehm do you even know what you are talking about? If you cant sing the notes with your chest voice, you cant count them to your register of singing notes. did you mean with G6 (g``````)? well you cant sing that note, even opera singer (soprano) cant sing that high "g" . nobody have a register of 6 octaves, either you are counting an octave wrong, or you try to scream the notes (high note) and screw the lower notes out of yourself, but thats not singing at all....
3:11 - ROFL
this guy is a light tenor. He didnt sing one note above his own passagio, Why take his advice? Demonstrate these exercises on a pitch higher than G and then we'll be in business :)
too much light on him
cute hair and tongue... lol
dommage pour la justesse....
*passaggio :)
Good advice but not fix your voice into your mask! It's a "nosey" sound!!!!!
I hate falsetto
your diaphragm is an involuntary muscle that descends upon inhalation. you don't sing 'with it' ... when are teachers gonna stop spewing such rubbish?
mar10vasq I quite agree! Aagh!
mar10vasq I think it depends on the person singing. I can fully control my diaphragm while I sing and even talk, and I know most of my other friends from the choir can control it as well.
Josh guessit Hi Josh. This is mostly an old fashioned misconception. What people think is diaphragmatic control is the abs and obliques working. The diaphragm has no sensory mechanism to be 'controlled'. It is merely there to keep you alive by making you breathe. As somebody who works with damaged voices I have always found the minute the student forgets all about that bit of the mechanism and concentrates on a proper working larynx, the sound and easy of singing is instantly better. Good breathing comes from good vocal production, not the other way around.
I tend to think that it is a combination of the abs and the diaphragm, that they both allow just a bit more air flow. If you think about it, you can control some of your involuntary muscles with a bit of concentration, such as blinking and breathing.
sure, now make your heart stop and start beating again...
I don't think this guy is a professional opera singer.
Neil Abercrombie I agree, I sure as hell have never heard of him, and I don't think any opera director has either
He didn't say famous, he said pro. If you get paid $50 to sing in one opera for one night you just became pro. Anyway he sounds nice.
YEAH, because everyone needs to work on the pasaggio to sing G4. This is mediocre, if you want to give an example, do something that the person you are teaching cant do. If you claim to be a profesional singer, give a proper sample of your abilities before, or at least leave a link to them. G is no relevant note to give an example about the passagio, because it can be sung in chest, he should demostrate an A or higher, thats what the passaggio is for.
With the exception of pure leggieros, most tenors have a break in modality starting around F4 and ending around G4. Anything above that is high notes. Heck, some dramaticos experience passaggio as low as D#4.
Whilst I'm not particularly fond of the quality of instruction in this video, when the topic is negotiating passaggio a G4 is sufficient.
No, not at all, might be for some cases, but not all cases. I can sing big and nice F#4 and G4, and mayve even get to G#4, but still struggle to get higher. Plus, he didnt realy sing in a big covered tone for an opera.
It is _possible_ to sing a completely open F#4 and G4, but we're talking operatic singing here. If you sing uncovered Gs on a live stage you won't have a long career (if at all). There's a reason why every single professional operatic tenor throughout recorded history covers F4-G4, it'd be impossible not to.
Imagine being a Wagnerian tenor pushing through an orchestra of 130 instruments for 5 hours without covering. You'd die 20 minutes in.
So? I never said I cant cover those notes. Epic Fail, I can pretty easily cover G4, but still strugle to go higher.
No one questioned your ability to cover a G4. We're discussing where the break in modality occurs in an operatic tenors vocal range, you're confusing it for a personal attack on your ability to sing (which it is not).
Ironically though, an inability to access high notes (A4 and above) points to a poorly negotiated passaggio. Now _that's_ an epic fail! ;)
This video is 100 % nonsense 😂
Jst like ur life
@@urnob5974 What an imaginative comeback. You really got me there! 😊
Well, if you believe he is correct, follow his advice and become a great singer.
1:18