Questa versione, da baritono 'scuro' , come è indicato nel titolo, è perfetta per me, se escludiamo il La grave dove perdo un po' di volume vista la mia tendenza 'leggera'. L'insegnante di canto Moreno Delsignore mi ha classificato come baritono chiaro sulla base della mia estensione (G#1/G#3) e del mio cambio di registro (intorno al Mi 3). In tessitura non ho molta difficoltà a prendere il Fa ma oltre il Fa devo passare al meccanismo 2 per evitare di essere sotto sforzo (come in questa aria che termina sul Fa#). Complimenti!
Ciao Luca, grazie per il commento e per questa interessante testimonianza tecnica. Secondo me piano piano ammaestrando il passaggio sempre meglio (che per un baritono chiaro, o baryton Martin come te è esattamente il Mi 3, giustissima quindi la decisione del tuo maestro di farti passare lì), potresti arrivare a farla un semitono sopra a questa, quindi con un bel Sol 3 pieno. Questa versione è un po' un compromesso perchè terminando su un Fa# 3 è un po' troppo acuta per un Basso, giusta per un baritono di stampo drammatico/verdiano (per capirci alla Bastianini o alla Bruson), più comoda invece per un baritono lirico o leggero che dovrebbero quindi portarla 1 semitono o massimo 1 tono sopra; quindi penso che piano piano arriverai a eseguirla senza troppe difficoltà. Nel mio caso ovvero quello di un bass-baritono è piuttosto ardua, infatti ho segnalato nel titolo "voice test" un po' come dire: "ho questa macchina che ha 100 cavalli vediamo se ce la fa ad arrivare a 200 Km/h" 😅
Es un baritono bajo porque los hay otros baritonos brillantes o baritenor como PLACIDO DOMINGO como yo que soy cantante lirico pero no me comparo con este gran cantante .Gardel tambien era baritenor .Saludos a todos
Hi Gianluigi, great video. It seems like you read my mind. I am also a bass-baritone (I'm not professionally trained, I'm self-taught and I sing pop songs mainly). I've observed that my tessitura is F2-F4. If we assume that this song is meant for tenors which have a C3-C5 tessitura then it means I should put it 7 semitones below (-7) right? Well, yesterday I tried singing it at this key (-5 semitones) and turns out it sounds better even though the F#4 at the end is very hard. I also tried to sing it at -6 semitones and it seems to be the "sweet spot". I have the following "table" of reference to put songs at our key: Sopranos: Same key, or lower it 12 semitones if the instruments are too treble Mezzos: -11 to - 10 semitones Contraltos: -9 to -7 semitones Tenors: -7 to -5 semitones Baritones: -4 to -2 semitones Bass baritones: Same key Basses: +1 to +3 semitones I have two questions for you: - How did feel singing Nessun Dorma at this Key? - Do you always lower the songs using the same logic as I do? or how do you do it? Thanks!
Hi Peter! Thanks for the comment! Nessun Dorma in this key was neither comfortable nor uncomfortable for me, it was "precise". I would also prefer it 6 semitones lower. For the transpositions I follow this simple logic: generally for composers the voices are spaced at 1 tone and a half away from each other. So a lyric tenor song can be sung by a lyric baritone one and a half pitches lower (my first version of Nessun Dorma is in fact only 1 and a half pitches lower). However, it is necessary to take into account the intermediate vocal classifications such as the dramatic or Verdi baritone, the various register passages and the overall tessitura of the piece. In your case being a bass-baritone (like me) 6 semitones is a correct transposition since the bass-baritone is exactly like a basso cantante but with a clearer timbre and the treble of the baritone, the texture and the register passages are practically the same. So if from tenor to baritone there is a tone and a half of distance, between baritone and bass there is another tone and a half and the sum are 3 tones that is 6 semitones. A basso cantante has the passaggio on C#4 a bass-baritone can delay it on the D4 but it is not that relevant. So in conclusion for a bass-baritone the ideal transposition of a tenor piece is 3 tones (6 semitones), in the case of a low baritone 4/5 semitones (because it has the passaggio like a bass-baritone), lyric baritone 3 semitones.
@@gianluigigamberucci6748 Thank you for your incredible explaination. I was very confused because according to the Fach System, "bass-baritones" in the english classification could be classified as Lyrischer Bassbariton or Dramatischer Bassbariton. But some of them are classified as Basso cantantes and Hoher Bass. And I was even more confused because my first passagio is at A#3 but the second one is at D4. Another important thing is that my vibrato is slower than those of lyric baritones and a LOT more slower than tenors. I also notice the same thing in you. I have finally accepted my voice and find my ways to overcome the transposition problem. Thank you very much, and keep on singing. Cheers.
@@SUP3RP3DR0L1V3 Do not even mention it! The lyrical and dramatic bass-baritone exist in the nomenclature, but they are all too empirical definitions, in the practice of the repertoire the bass-baritone sings the roles of the basso cantante. Your passaggio is perfect for a bass-baritone, mine is lower, I have the first passaggio on G#3 and the second one on C#4 but I can sing some baritone arias thanks to my "anomalous" baritone extension. As for the vibrato it is normal because the darker the voice and therefore it has a greater resonance cavity, the slower the vibrato will be (however, you have to be careful that it is not too slow, otherwise the problem of the "wobbling voice" occurs). I am happy to have helped you, feel free to ask me other questions if you need.
Nessun Dorma is beautiful in any key. This is very well sung. I prefer it in a higher key, but I would not complain listening to this gentleman! Bella!
Hi! I made this backing track by myself, devocalizing the original song by Andrea Bocelli and changing it in key. I have it in mp3 I can send it to you without problems, leave me your email address
Bravisimo. Me gustaría cantarla en mi voz contralto.
Maravilloso !
Questa versione, da baritono 'scuro' , come è indicato nel titolo, è perfetta per me, se escludiamo il La grave dove perdo un po' di volume vista la mia tendenza 'leggera'. L'insegnante di canto Moreno Delsignore mi ha classificato come baritono chiaro sulla base della mia estensione (G#1/G#3) e del mio cambio di registro (intorno al Mi 3). In tessitura non ho molta difficoltà a prendere il Fa ma oltre il Fa devo passare al meccanismo 2 per evitare di essere sotto sforzo (come in questa aria che termina sul Fa#). Complimenti!
Ciao Luca, grazie per il commento e per questa interessante testimonianza tecnica. Secondo me piano piano ammaestrando il passaggio sempre meglio (che per un baritono chiaro, o baryton Martin come te è esattamente il Mi 3, giustissima quindi la decisione del tuo maestro di farti passare lì), potresti arrivare a farla un semitono sopra a questa, quindi con un bel Sol 3 pieno. Questa versione è un po' un compromesso perchè terminando su un Fa# 3 è un po' troppo acuta per un Basso, giusta per un baritono di stampo drammatico/verdiano (per capirci alla Bastianini o alla Bruson), più comoda invece per un baritono lirico o leggero che dovrebbero quindi portarla 1 semitono o massimo 1 tono sopra; quindi penso che piano piano arriverai a eseguirla senza troppe difficoltà. Nel mio caso ovvero quello di un bass-baritono è piuttosto ardua, infatti ho segnalato nel titolo "voice test" un po' come dire: "ho questa macchina che ha 100 cavalli vediamo se ce la fa ad arrivare a 200 Km/h" 😅
🌸🌺❤️
Es un baritono bajo porque los hay otros baritonos brillantes o baritenor como PLACIDO DOMINGO como yo que soy cantante lirico pero no me comparo con este gran cantante .Gardel tambien era baritenor .Saludos a todos
Voce baritonale bellissima. Ma io nessun dorma la preferisco cantata dal tenore
❤️
Interessante
Hi Gianluigi, great video. It seems like you read my mind. I am also a bass-baritone (I'm not professionally trained, I'm self-taught and I sing pop songs mainly). I've observed that my tessitura is F2-F4. If we assume that this song is meant for tenors which have a C3-C5 tessitura then it means I should put it 7 semitones below (-7) right? Well, yesterday I tried singing it at this key (-5 semitones) and turns out it sounds better even though the F#4 at the end is very hard. I also tried to sing it at -6 semitones and it seems to be the "sweet spot".
I have the following "table" of reference to put songs at our key:
Sopranos: Same key, or lower it 12 semitones if the instruments are too treble
Mezzos: -11 to - 10 semitones
Contraltos: -9 to -7 semitones
Tenors: -7 to -5 semitones
Baritones: -4 to -2 semitones
Bass baritones: Same key
Basses: +1 to +3 semitones
I have two questions for you:
- How did feel singing Nessun Dorma at this Key?
- Do you always lower the songs using the same logic as I do? or how do you do it?
Thanks!
Hi Peter! Thanks for the comment! Nessun Dorma in this key was neither comfortable nor uncomfortable for me, it was "precise". I would also prefer it 6 semitones lower. For the transpositions I follow this simple logic: generally for composers the voices are spaced at 1 tone and a half away from each other. So a lyric tenor song can be sung by a lyric baritone one and a half pitches lower (my first version of Nessun Dorma is in fact only 1 and a half pitches lower). However, it is necessary to take into account the intermediate vocal classifications such as the dramatic or Verdi baritone, the various register passages and the overall tessitura of the piece. In your case being a bass-baritone (like me) 6 semitones is a correct transposition since the bass-baritone is exactly like a basso cantante but with a clearer timbre and the treble of the baritone, the texture and the register passages are practically the same. So if from tenor to baritone there is a tone and a half of distance, between baritone and bass there is another tone
and a half and the sum are 3 tones that is 6 semitones. A basso cantante has the passaggio on C#4 a bass-baritone can delay it on the D4 but it is not that relevant.
So in conclusion for a bass-baritone the ideal transposition of a tenor piece is 3 tones (6 semitones), in the case of a low baritone 4/5 semitones (because it has the passaggio like a bass-baritone), lyric baritone 3 semitones.
@@gianluigigamberucci6748 Thank you for your incredible explaination. I was very confused because according to the Fach System, "bass-baritones" in the english classification could be classified as Lyrischer Bassbariton or Dramatischer Bassbariton. But some of them are classified as Basso cantantes and Hoher Bass. And I was even more confused because my first passagio is at A#3 but the second one is at D4.
Another important thing is that my vibrato is slower than those of lyric baritones and a LOT more slower than tenors. I also notice the same thing in you. I have finally accepted my voice and find my ways to overcome the transposition problem. Thank you very much, and keep on singing. Cheers.
@@SUP3RP3DR0L1V3 Do not even mention it! The lyrical and dramatic bass-baritone exist in the nomenclature, but they are all too empirical definitions, in the practice of the repertoire the bass-baritone sings the roles of the basso cantante. Your passaggio is perfect for a bass-baritone, mine is lower, I have the first passaggio on G#3 and the second one on C#4 but I can sing some baritone arias thanks to my "anomalous" baritone extension. As for the vibrato it is normal because the darker the voice and therefore it has a greater resonance cavity, the slower the vibrato will be (however, you have to be careful that it is not too slow, otherwise the problem of the "wobbling voice" occurs). I am happy to have helped you, feel free to ask me other questions if you need.
Nessun Dorma is beautiful in any key. This is very well sung. I prefer it in a higher key, but I would not complain listening to this gentleman! Bella!
questo ragazzo è uno scooter a motore baaaaaad
❤️
Pięknie🌹
Hey! i am looking for karaoke in this key. Can you tell me where have you found it or send (sell) it to me? thank you!
Hi! I made this backing track by myself, devocalizing the original song by Andrea Bocelli and changing it in key. I have it in mp3 I can send it to you without problems, leave me your email address
@@gianluigigamberucci6748 hi sir, can i also get that mp3?
Voce bella ma con tantissimi difetti della respirazione e anche molto calante ascolta canta da basso che forse sei molto più credibile
🌺❤️
The voice seemed to get warmed up and better intonation as it went on. Very good effort.
NON CI SIAMO...CANTATA DA UN BARITONO ASSUME UNA CONNOTAZIONE TRAGICA CHE NON HA!!!!! IL NESSUN.DORMA É EROICO ,ESALTANTE......