Thanks so much for your explanation of passaggio. Spent years as a tenor basically forcing the sound through this area and all it did was make me go hoarse. I'm slowly learning how to do it properly. I love your thinking that we just need to use some compassion to find out how to make this work, instead of just getting frustrated all the time.
I'm so glad to hear this was helpful, and I know the force and frustration story all too well. Trying a little tenderness goes a long way in understanding how to collaborate with our physiology. Wishing you a lot of joy as you continue to sing. Thanks for the kind comment
i really love how you teach, everything is so clear. you have a gift for this. i find the "ah" sound is easiest for me to smooth out and the "eee" sound (in "see") tends to bring out the break the most. i really love the idea of working m2 down further to be counterbalance the tendency to hold onto chest. its funny how sometimes bringing a more chest sound to m2 involves spending more time in m2, a little non-intruitive!
yes -- it's very brain teasy for sure. I find the same with navigating /i/ and /a/. There's a new video coming today that breaks down how to navigate transitions on specific vowels, so keep an eye out. Very glad to hear the videos have been. helpful -- as much as I'm able I want to make things less confusing for singers. thanks for the kind comment
The Tenors name was Duprez and Rossini himself apparently made that comment about him... :) But i think it was the "newness" of this style and approach that shook people. He was a big star after all. Thank you so much for your videos!
What are your thoughts on how registration and dynamics interact? One challenge I have is that past a certain point in mode 2, it can only be at a loud dynamic. If I try to sing the pitch softly, it either won't happen at all, or it won't be that pitch.😂
@@joshdaniels2363 good question I am going to talk about dynamic within registration on the next video and ways to calibrate for Crescendo and dimenuendo I think :-) if it doesn't get too involved. But when it comes to mode 2 yeah there's a point at which I can only sing loud mode 2. Probably above D5 -- I need to narrow the tract at that point and a certain amount of volume boost goes along with it. So yeah, I can rock scream a G5 but I definitely can't float a G5 like a skilled soprano could
Thank you! I transition well but always good to get more. I’ve a strange voice, first passagio at F#4 secondo at A4(just found with teacher). I normally blast the A4 but suddenly I cracked like crazy! Yet, my voice is not bright and childlike like you would expect with such high pasaggio, like Kellin Quinn of Sleeping with Sirens mine is more like Steve Perry a little smoky and darker. Ever had students with disparate tonality like that? And how best to navigate with an apparently very high tenor voice.
Sounds like you've got some good understanding of how your instrument works -- the very reason why I think it's so important to think about passaggio inside a range of possibilities depending on phonation, tract shape, even air delivery. Not having heard your voice, I can't comment with accuracy, but sounds like you're navigating your own timbral spectrum well with the understanding of where you feel your own changes -- as long as they work for you for expressive and efficient singing, then sounds like you're on track. And yes, definitely worked with singers with more anomalous vocal features, and I always find that very exciting, how we're all so unique. Hope this answered you Q -- glad you're here
First of all thank you a lot for your videos. I have a question - from your experience (not from what you’ve read or heard) when a “lower male voice” lets that transition happen how much lower does it happen, what note around? (while having the same kind of energy/intensity/loudness as you demonstrated)
Dan can correct me if I’m wrong but the intensity will be the same just lower notes. A baritone’s G4/A4 will be powerful like a tenor’s B4/C5 in comparison to the music being played
Thanks for this question -- I always like to think about transitional zones rather than specific pitches. Depending on where your larynx is, and what style your singing, transitions can happen within a neighborhood of pitches. For lower voices, you may feel transitions wanting to go ahead and begin just below middle C. The pedagogy book will tell you that a bass will turn over at about D or E-flat, and the baritone voice will turn over around E to F, but these changes are predicated on a stable/medium laryngeal position. Once the larynx gets to move, then the tract shape also changes and gives different feedback to the folds which can affect registration. All this to say for a lower voice, I would expect that you might feel an inkling to turn over from mode one to mode 2 as low as B-flat below middle C, and you have a range of about a 3rd where transitional possibility occurs. I'd give yourself permission to play around with this range and just see what the possibilities are for your registration on different pitches. This way you can see a range of possibilities in this area rather than a specific demarcation where you feel like your voice has to transition every time. I hope this helps.
@@christianrasmussen9519 yes, I think I agree about the ring and intensity that a baritone voice would experience around G4/A4 as compared to where a tenor would experience leverage a little higher -- I always have to do math with scientific pitch naming :-)
@@dancallawaystudio thank you! I was though I was responding to another. My transition is quite high starting at F#4 and again at A4. Though my voice isn’t bright like you’d think with such a high transition points. Appreciate the information though. I do however begin to transition modes lower as it makes it easier to ascend into the upper range B4-E5 in mix example. Do you have any insight on someone with such high transition points it seems unusual I met one other person and his voice is very light and bright. He also has a “different” shaped skull.
Thanks so much for your explanation of passaggio. Spent years as a tenor basically forcing the sound through this area and all it did was make me go hoarse. I'm slowly learning how to do it properly. I love your thinking that we just need to use some compassion to find out how to make this work, instead of just getting frustrated all the time.
I'm so glad to hear this was helpful, and I know the force and frustration story all too well. Trying a little tenderness goes a long way in understanding how to collaborate with our physiology. Wishing you a lot of joy as you continue to sing. Thanks for the kind comment
i really love how you teach, everything is so clear. you have a gift for this. i find the "ah" sound is easiest for me to smooth out and the "eee" sound (in "see") tends to bring out the break the most. i really love the idea of working m2 down further to be counterbalance the tendency to hold onto chest. its funny how sometimes bringing a more chest sound to m2 involves spending more time in m2, a little non-intruitive!
yes -- it's very brain teasy for sure. I find the same with navigating /i/ and /a/. There's a new video coming today that breaks down how to navigate transitions on specific vowels, so keep an eye out. Very glad to hear the videos have been. helpful -- as much as I'm able I want to make things less confusing for singers. thanks for the kind comment
Thanks so much - looking forward to the follow-up!
You're very welcome -- follow up is coming today.
really great explanations!
thanks -- I hope they helped!
Thanks. This is life saving! ❤
You're very welcome -- so glad this was helpful for you
The Tenors name was Duprez and Rossini himself apparently made that comment about him... :) But i think it was the "newness" of this style and approach that shook people. He was a big star after all.
Thank you so much for your videos!
@@lostboy2381 that's RIGHT -- thanks for reminding me. Yeah you know it must have been a completely alien experience for the people hearing it.
@@lostboy2381 and you're very welcome -- I hope they're helpful
What are your thoughts on how registration and dynamics interact? One challenge I have is that past a certain point in mode 2, it can only be at a loud dynamic. If I try to sing the pitch softly, it either won't happen at all, or it won't be that pitch.😂
@@joshdaniels2363 good question I am going to talk about dynamic within registration on the next video and ways to calibrate for Crescendo and dimenuendo I think :-) if it doesn't get too involved. But when it comes to mode 2 yeah there's a point at which I can only sing loud mode 2. Probably above D5 -- I need to narrow the tract at that point and a certain amount of volume boost goes along with it. So yeah, I can rock scream a G5 but I definitely can't float a G5 like a skilled soprano could
Thank you! I transition well but always good to get more. I’ve a strange voice, first passagio at F#4 secondo at A4(just found with teacher). I normally blast the A4 but suddenly I cracked like crazy! Yet, my voice is not bright and childlike like you would expect with such high pasaggio, like Kellin Quinn of Sleeping with Sirens mine is more like Steve Perry a little smoky and darker. Ever had students with disparate tonality like that? And how best to navigate with an apparently very high tenor voice.
Sounds like you've got some good understanding of how your instrument works -- the very reason why I think it's so important to think about passaggio inside a range of possibilities depending on phonation, tract shape, even air delivery. Not having heard your voice, I can't comment with accuracy, but sounds like you're navigating your own timbral spectrum well with the understanding of where you feel your own changes -- as long as they work for you for expressive and efficient singing, then sounds like you're on track. And yes, definitely worked with singers with more anomalous vocal features, and I always find that very exciting, how we're all so unique. Hope this answered you Q -- glad you're here
First of all thank you a lot for your videos. I have a question - from your experience (not from what you’ve read or heard) when a “lower male voice” lets that transition happen how much lower does it happen, what note around? (while having the same kind of energy/intensity/loudness as you demonstrated)
Dan can correct me if I’m wrong but the intensity will be the same just lower notes. A baritone’s G4/A4 will be powerful like a tenor’s B4/C5 in comparison to the music being played
Thanks for this question -- I always like to think about transitional zones rather than specific pitches. Depending on where your larynx is, and what style your singing, transitions can happen within a neighborhood of pitches. For lower voices, you may feel transitions wanting to go ahead and begin just below middle C. The pedagogy book will tell you that a bass will turn over at about D or E-flat, and the baritone voice will turn over around E to F, but these changes are predicated on a stable/medium laryngeal position. Once the larynx gets to move, then the tract shape also changes and gives different feedback to the folds which can affect registration. All this to say for a lower voice, I would expect that you might feel an inkling to turn over from mode one to mode 2 as low as B-flat below middle C, and you have a range of about a 3rd where transitional possibility occurs. I'd give yourself permission to play around with this range and just see what the possibilities are for your registration on different pitches. This way you can see a range of possibilities in this area rather than a specific demarcation where you feel like your voice has to transition every time. I hope this helps.
@@christianrasmussen9519 yes, I think I agree about the ring and intensity that a baritone voice would experience around G4/A4 as compared to where a tenor would experience leverage a little higher -- I always have to do math with scientific pitch naming :-)
@@dancallawaystudio thank you! I was though I was responding to another. My transition is quite high starting at F#4 and again at A4. Though my voice isn’t bright like you’d think with such a high transition points. Appreciate the information though. I do however begin to transition modes lower as it makes it easier to ascend into the upper range B4-E5 in mix example. Do you have any insight on someone with such high transition points it seems unusual I met one other person and his voice is very light and bright. He also has a “different” shaped skull.
Re transition higher- I choose to begin mixing lower than necessary because it’s easier to ascend if head of m2 is already in place