I gotta say, when you went from F4 to G4 at 1:22 there was a noticeable change in timbre. But, it was in a very beautiful way, and you were able to maintain freedom and resonance in both timbres. A lot of teachers would say that that’s the key to the passaggio and covering - allow a shift that you cannot feel to occur at the level of the vocal folds, and don’t change anything else along with it. That way, the timbre shifts slightly into a more noble or hooded or easy place, but the consistent opening and freedom allows that sound to still be totally resonant and forward. I would say you demonstrated that easy natural shift incredibly well, but it’s not quite the same thing to say that no shift happens at all. The shift still happens even if we don’t actively make it happen, and it is when we aren’t making it happen that it works the best.
Sure, you are right. There is a change. Audible with any tenor. Question is how to deal with it. Let it happen naturally or trying to do something special there. The first variant is certainly the right one and works under the condition that the settings necessary for singing classical music are in place before hitting the passagio and are maintained. That is what he meant by no change.
@@jenspflug7473 If there is a change in timbre, but not in function, that is still a change or shift of something - therefore SOME kind of change happens. We do nothing physically to allow this change to happen, but if we tell a student to just “do nothing”, they will by no means start doing the right thing. The student needs to be clearly told, “The timbre will shift in this particular way when you stay relaxed” and then given a great example of that shift (like the guy in the video) before attempting many times to execute that shift.
I have always been a baritone in choir. During the very high warm-ups in my latest choir, I discovered that I could sing rather high in chest voice, even up to the high C if I made a little change in my mouth that I can't describe . It's needed that I bring my hand to my ear to feel well what I should do. You see that Jonas Kaufman is doing it too sometimes. It prevents you from oversinging I guess. This technique works and makes the sound, up high, well resonating but in a full and dark way. A tenor learns to mix in a lot of head voice already during the passagio and his high notes are then much brighter and ringing. It's a hell of a technique if I try to do it too ;-) Some days it's very good and then for the rest it's unpredictable. Especially the high A starts to shake sometimes. As professional baritone, I think you could get very depressed trying to learn it.
@@TenorDmitry Perhaps.. I notice that Lucas Meachem here on YT also struggles with being "almost tenor" and this man here sounds like almost like me but I feel he is not a real lyric baritone (???) th-cam.com/video/Tlsjzdr1Axo/w-d-xo.html
I thought this was very good advice for all those of us who fear the passaggio because we have tried so many different techniques. I found this very useful Dmitry. Grazie 🇮🇹
Amazing voice and tecnique! But the sound become diferent! Something changed. You covered the note, supporting it. Very well donne! Congrats, beautiful voice and interpretation!
After being covering in the wrong way by overdarking my vowells i'm considering things different at the moment and your video helps me a lot. I will try to work in a direction that the passagio as you said is something more natural and just slightly rounded and not a big effect such as turning every bright A to O with no clarity in it
Конечно меняется, это и есть выход на "прикрытый" способ пения. Я говорю лишь о том, как этого достичь. Я не пытаюсь ничего делать, закрывать, "загонять", или делать все то, чему многие безуспешно учат, сами не владея этой возможностью. Я, у себя в голове, ничего не делаю, а наоборот - стараюсь ничего не менять, кроме "позволения" звуку идти туда, куда надо, и следя за тем, чтобы ничего кардинально не менялось и было достаточно воздуха. Вот и все.
Я эстрадный певец (и преподаватель), но начал лезть в эти "прикрытые" верхние ноты, потому что захотел подусилить свой верх. И, на самом деле, исходя из своей практики, нахожу выводы из видео имеющими место быть. Я не меняю фокус звука, не пытаюсь изменить принцип звукоизвлечения. Не пытаюсь брать намного больше воздуха. Просто сохраняю собранную позицию (да, эстрадники так тоже могут). И звук сам прикрывается. Больше всего этот "переходик" слышу на соль-диезе. Но я не делаю этого намеренно, он просто сам темнеет. Так дошел до распевочной верхней си. Рабочие соль-диез и немного ля. Буду смотреть, как пойдет дальше. Очень помогает еще предварительно распевать фальцет в этом диапазоне.
I was trained in that paradigm: ie. "There are no registers in the trained voice" -- Lili Lehman It turns out that's only true after you've learned to sing in your head voice, which dominates above F# or G for most tenors. So it's a circular argument. Good for you, if, for you, this comes naturally. It was common in many regions of Italy, where singing popular songs in head voice was popular, esp before the era of the electronic microphone. They heard that sound all around them, teachers encouraged it, the music was written with that sound in mind. But, for many, this is a discouraging thing to read, because, for them, it's not true. If you've learned to speak, sing, & yell in chest -- with the vocalis muscles -- the crico-thyroids, the muscles required to produce a head voice sound, are not at all adequately developed and that singer will be frustrated and unable to do what you demonstrated. Good for you, good for me -- we can do that, but for many beginners, they can't. They need to develop the head voice so it'll be there to take over when they reach the passaggio (again, around F#, G). So sure, Rockwell Blake, Nicolai Gedda, & Jussi Björling say they HAVE no break. It's true, for them, but that's not true for many and some who say it was have simply forgotten a painful time when things weren't working so well. Cheers!
I didn't quiet understand your question but if you ask if the larynx goes up - in classical singing - it doesn't. It stays middle- low and the most important thing - stable. It vibrates "on the air" but the amplitude of the vibration should be small, flexible and free. So small that we can't see it. So if you look at it it should stay low and stable wherever on your range you sing, low or high. Again - I'm talking here about a well built and trained classical (operatic) healthy technique.
Правда, что с возрастом ноты повыше могут "прорезаться сами"? мол появится больше шансов зацепить их после мутационного периода. Я не говорю про какие то С5, Е6, а про Ля верхнюю например. И еще, какой по-вашему мнению у 17 летнего тенора в среднем самая высокая безопасная нота может быть?
Привет. 17 лет это очень молодой возраст. Про безопасные ноты - все индивидуально, но я бы советовал выше среднего фа не лезть (passaggio). Если хотите серьезно петь и не играть в опасные игры с голосом, то только с педагогом, и чем раньше тем лучше. Пытаться самому лезть на верх не имея вокальной техники это опасная игра для связок, а так же большой шанс зажаться и заучить неправильные навыки. Можете прислать запись, я посмотрю. Дмитрий.
The Passagio does not exist. Indeed what feels like a passage is that from E up we approach frequencies we do not use in the speaking and normal Volk-singing voice so there is gradually more effort to apply breath and voice in the exaggerated demands opera composers are prone to... but there is no real technical change.
I have to actually hear. But generally speaking, if you feel that it starts getting hard around F and u need a change (to Falsetto for example) then you are probably have a tenor voice.
The tenor passaggio, starting usually on F (can be d or F#, depends on the situation) , and there I go actually to the "covered mode". Here I show, how this more can be done very gently, just by darkening the sound a bit, without any major changes in the feeling of the singer.
Very lazy video, didn't explain anything, didn't give any deeper insight into the problematics of the topic. Didn't even give a proper demonstration of how the sound changes below, during and above the passaggio and what is the audible difference when there is more or less covering or air ot whatever you mentioned as a possible issue. Also in the demonstration the F didn't sound homogeneous to the rest of the range so didn't support the point of "there's no passaggio". Might as well made a 3 second video instead saying - "Don't overthink it!"
That's exactly what he said though. Discard what the others videos tell you, assuming we know about that and he even tells it in there too. That we should somewhat relax and flow and not overthink it and then the body will adapt and create the right technique and passagio that is your own.
@@timotialban2688 Or the body will find some coping mechanism that involves pushing and squeezing or over covering, while you (not thinking about it) will think that: "oh, this is it! Now I know how to sing high!"
First of all Blake does not say that the Passaggio does not exist. He says that the passaggio is faced differently based on the style that is sung. Secondly, the passaggio is not present in all voices and it is not always on the same notes, even if we are talking about two tenors or two baritones. Pavarotti had the passaggio on F, F # and Sol. My passaggio is on E, F and F #. Florez has no passaggio (lucky him). The passaggio must be faced with what is presented and if it is presented it does so clearly, to the student and to the teacher. In a voice that sings in the right position, the passaggio is solved without effort, but, as Pavarotti says, this happens after a lot of study! The passaggio depends on the vocality, on the physical characteristics of the single subject and it is not possible to make a unique speech for each singer. This video is misleading ... Del Monaco changed his way of singing later in life, neglecting the passaggio area that he cared a lot as a young man. It is the same thing as singing with a sunken larynx: all the great sing with a very low larynx. Pavarotti himself is an impeccable example of this, even if it doesn't seem so to bad listeners.
I mean... I guess I agree that there's no actual 'thing' called the passaggio, and I can see how this post is more of a counter-argument to bad teachers than a tutorial on navigating the different registers in your voice. If some people need to hear this, then they should hear this! It's a fact that the human voice has different registers; transitioning between them in a natural way can be a challenge, and that's why so much effort has gone into helping singers navigate a passage between them. I don't think it's magic or overly complicated- it's more a trick to make the vowel small but let it sound big, so that you're singing at the bottom of your next register more often than at the top of your current one (which can be exhausting).
I would say it's not even a trick but a process followed by a lot of practicing, so one can do it "10 out of 10" And it becomes the natural and the only way for the singer. Then one can think of doing music and not of "how to go throgh it again". It's a process which requires a work with a good singing teacher that knows what he is doing.
Not a professional Singer, but to me it looks like the ones Who Say that during passaggio, very few change, are Just people with a particular kind of voice.. there are billions of people in the world, with billions of different instruments. There are people, expecially with highest voices Who can easily hit notes over a High C for which the change is so evident, that it almost seems to listen to 2 different singers.. I have never, never listen to any operatic Singer apart Pavarotti, where the you cant easily understand if they are above the passaggio. Pavarotti with his "dilegua notte" is One on hundreds singers, even with Better technique than him. In popular music, where range is more important than the purity of sounds, the change of voice is so often evident that I still believe that, Just a minority of people have a peculiar instruments according to, they dont Need particular technique to Sing in that area..
You talk about the passagio as if it is widening of the throat, which it is not! You describe a narrowing as if it is wrong which it is not wrong, too many singers sing wide, rather than opening a passage way head to chest, allowing resonance throughout the range, using the whole instrument, which appear to be doing when you sing is passagio! Chiaroscuro is about balancing the passagio, without overdoing either part in the extreme. It is sad you denounce the great tenors and singers of the past!
Dear Simon. I do talk about narrowing (1.36) and i did not say anything about widening. BUT - the "narrowing" is also just a word, an internal feeling (since in reality nothing gets narrow. It's about the air pressure and resistance of the vocal cords. Now, "chiaroscuro" which just means "brightdark" is just a sensational term, "connecting the chest with the head" ect... We all can talk using thousend terms and thats what all teachers do, good and bad, but obviously many singers still don't feel comfortable on the passaggio and become nervous while getting there. The result is overthinking and overdoing, pressure and many times overworking which effects the high notes. The video is not for beginners but for developed singers with trained system who still experiance problems with this issue, and I just offer my subjective feelings and show the result. Talking is easy. If you think im wrong - u r welcome to open a camera on your phone and demonstrate your passaggio, so we can see how you do it, what you do there and may be learn from you (it will take you 10 min. To do so). Everybody talk and have an opinion, but not many can/dare to demonstrate how it works for them (if it does at all...). Singing is not a relligion but a physical skill.
@@TenorDmitry You mention the darkening, which no only comes from lowering the larynx, but also comes from widening, as the throat is opened, there is a tendency to widen, and that is where problems with opening the throat happen. There are too many artists, pressing down the laryx and widening the throat to get a false, richer sound. As you say keeping the opening, of the throat with a consciences of staying narrow is crucial, I agree. But the passagio (passage), space above and below the larynx is critical. As for Chiaroscuro, it is much much more than just a sensational term, it is the key to balance of the resonance between head and chest which is how you paint colour and depth with the voice!
@@TenorDmitry May do just that this week sometime. But I will carefully consider how this shall be done, when I get the time. The best results when guiding a voice, come from the most secure and confident imagery, and the feelings and results created by a singers experience in learning and achieving. The traditional concept of the passagio is one essential piece in the puzzle. Yes talking is easy, and it is easy, to talk and suggest you know more than the great masters of the past. Anything I say or do around the subject will be inline supporting the traditional methods I have learnt. I may have other ways of approaching this, but generally that will be because every student and voice is different, and we all come from different starting points. It is important to to ensure we learn and understand our own voice, and develop our own voice as naturally and safely as possible, but the voice needs guidance with well founded technique, and I believe the ways of the thousands of maestros in the past should be carefully considered first by each individual, before straying from the well trodden Bel Canto path. The last thing we want is to become an impersonation of another singer!
You have just described and demonstrated the exact thing you say doesn’t exist, the passaggio. It’s foolish to talk negatively about an important technical aspect of a Tenor’s development on which all of the great tenors agree and talk about eg Pavarotti, Domingo, Aragall, Kaufman. Do not listen to Rockwell Blake, yes he had some amazing agility but his sound lacks warmth, he is one of those natural tenors who always had those upper notes but his sound is overly wide and raw and always too open. He is not the best point of reference for discussing the passaggio. Most Tenors agree to the existence of the passaggio than disagree.
Dear Jason. The passaggio does exist, and it takes time to cultivate it and work on it, learning to control it and use it properly. I've done it myself and it took years to develop. My point here is the final sensation, and the subjective feeling. I'm talking about the fact, that many Tenors are overthinking and overdoing it (used to it from the beginning of their vocal practicing), when at the end of the day it should become natural (for them ) and not to take too much effort, as well as not require too much mental preparation and approach of doing "something special" every time. The final feeling should be easy, stabile, fun and not heavy. The video is more for developed singers then for beginners. I passed myself through overpushing, overworking and overthinking then passaggio, so I hope this approach can help singers who are still feeling unstable with it. Best regards!
@@CamoflaugeDinosaue I agree! He talks about "great tenors" and include Dominggo and Kauffman to his list. Overrated tenors. Meanwhile he talks negatively about Rockwell Blake's openness technique. What even is 'too open'? Isn't the openness of the throat the way of Opera? I can't even take this comment seriously. Shame.
Im talking about the practical approach to get there. I'll say even more - at the beginning the student learns that there is a noticable "switch" , but trying to "make" This switch leads often to a stuck, suppreased backwards passaggio, which also requires way much effort that it really needs. The singer believes that thats the only way to get there, overworking on overdone passaggio and can't get the high notes trying to push even harder. The effective approach is the one i'm showing on the video.
Dude. Let me guess. You are a natural tenor? 😂 Only a male vocalist with a naturally high singing voice would claim something like ‘nothing changes’. This is fundamentally bad advice. Multiple things PHYSICALLY have to change for a male vocalist to successfully navigate e4 and above in a balanced way. Just because it may ‘feel’ like nothing changes for you personally, does not mean that things are not changing
![[Part 1] ทารกน้อยถูกทิ้ง👶 หญิงชราเก็บขวดขายเลี้ยงดูเขาจนโต #โลกการละคร](http://i.ytimg.com/vi/nPTDvFCExks/mqdefault.jpg)
Perfect, tank you
Your speaking voice sends no hints on what a wonderful singing voice you have
Incredible transformation
Just what I have observed...
I gotta say, when you went from F4 to G4 at 1:22 there was a noticeable change in timbre. But, it was in a very beautiful way, and you were able to maintain freedom and resonance in both timbres. A lot of teachers would say that that’s the key to the passaggio and covering - allow a shift that you cannot feel to occur at the level of the vocal folds, and don’t change anything else along with it. That way, the timbre shifts slightly into a more noble or hooded or easy place, but the consistent opening and freedom allows that sound to still be totally resonant and forward. I would say you demonstrated that easy natural shift incredibly well, but it’s not quite the same thing to say that no shift happens at all. The shift still happens even if we don’t actively make it happen, and it is when we aren’t making it happen that it works the best.
that was a4
@@acedlovesclips you're sorta right! he played G4 and then went sharp to G#4 ish
Sure, you are right. There is a change. Audible with any tenor. Question is how to deal with it. Let it happen naturally or trying to do something special there. The first variant is certainly the right one and works under the condition that the settings necessary for singing classical music are in place before hitting the passagio and are maintained. That is what he meant by no change.
@@jenspflug7473 If there is a change in timbre, but not in function, that is still a change or shift of something - therefore SOME kind of change happens. We do nothing physically to allow this change to happen, but if we tell a student to just “do nothing”, they will by no means start doing the right thing. The student needs to be clearly told, “The timbre will shift in this particular way when you stay relaxed” and then given a great example of that shift (like the guy in the video) before attempting many times to execute that shift.
It helped very much! "It really don´t change anything" those were the words that have put all the work together, in my case. It feels great. Thanks.
I have always been a baritone in choir. During the very high warm-ups in my latest choir, I discovered that I could sing rather high in chest voice, even up to the high C if I made a little change in my mouth that I can't describe . It's needed that I bring my hand to my ear to feel well what I should do. You see that Jonas Kaufman is doing it too sometimes. It prevents you from oversinging I guess. This technique works and makes the sound, up high, well resonating but in a full and dark way. A tenor learns to mix in a lot of head voice already during the passagio and his high notes are then much brighter and ringing. It's a hell of a technique if I try to do it too ;-) Some days it's very good and then for the rest it's unpredictable. Especially the high A starts to shake sometimes. As professional baritone, I think you could get very depressed trying to learn it.
Hello. Well, could be that if you follow this path and can sing up to high C with a chest (natural) covered sound - you are actually a tenor :)
@@TenorDmitry Perhaps.. I notice that Lucas Meachem here on YT also struggles with being "almost tenor" and this man here sounds like almost like me but I feel he is not a real lyric baritone (???)
th-cam.com/video/Tlsjzdr1Axo/w-d-xo.html
I thought this was very good advice for all those of us who fear the passaggio because we have tried so many different techniques. I found this very useful Dmitry. Grazie 🇮🇹
Amazing voice and tecnique! But the sound become diferent! Something changed. You covered the note, supporting it. Very well donne! Congrats, beautiful voice and interpretation!
I felt it was useful. Thank you
Hello. Thank you for the tips. How can this be applied in contemporary singing? Because we cant make it too dark and cover it.
After being covering in the wrong way by overdarking my vowells i'm considering things different at the moment and your video helps me a lot. I will try to work in a direction that the passagio as you said is something more natural and just slightly rounded and not a big effect such as turning every bright A to O with no clarity in it
Exactly. There is a change but smooth, and everything stays Basically "in the same place".
Una buena explicacion
Вы сказали, что я ничего не меняю, но на 1:22, когда берете Соль, то явно слышно, что меняется форма взятия ноты, ровным счетом, как и тембр.
Конечно меняется, это и есть выход на "прикрытый" способ пения. Я говорю лишь о том, как этого достичь. Я не пытаюсь ничего делать, закрывать, "загонять", или делать все то, чему многие безуспешно учат, сами не владея этой возможностью. Я, у себя в голове, ничего не делаю, а наоборот - стараюсь ничего не менять, кроме "позволения" звуку идти туда, куда надо, и следя за тем, чтобы ничего кардинально не менялось и было достаточно воздуха. Вот и все.
Я эстрадный певец (и преподаватель), но начал лезть в эти "прикрытые" верхние ноты, потому что захотел подусилить свой верх. И, на самом деле, исходя из своей практики, нахожу выводы из видео имеющими место быть. Я не меняю фокус звука, не пытаюсь изменить принцип звукоизвлечения. Не пытаюсь брать намного больше воздуха. Просто сохраняю собранную позицию (да, эстрадники так тоже могут). И звук сам прикрывается. Больше всего этот "переходик" слышу на соль-диезе. Но я не делаю этого намеренно, он просто сам темнеет. Так дошел до распевочной верхней си. Рабочие соль-диез и немного ля. Буду смотреть, как пойдет дальше. Очень помогает еще предварительно распевать фальцет в этом диапазоне.
I was trained in that paradigm: ie. "There are no registers in the trained voice" -- Lili Lehman
It turns out that's only true after you've learned to sing in your head voice, which dominates above F# or G for most tenors.
So it's a circular argument. Good for you, if, for you, this comes naturally. It was common in many regions of Italy, where singing popular songs in head voice was popular, esp before the era of the electronic microphone. They heard that sound all around them, teachers encouraged it, the music was written with that sound in mind. But, for many, this is a discouraging thing to read, because, for them, it's not true. If you've learned to speak, sing, & yell in chest -- with the vocalis muscles -- the crico-thyroids, the muscles required to produce a head voice sound, are not at all adequately developed and that singer will be frustrated and unable to do what you demonstrated. Good for you, good for me -- we can do that, but for many beginners, they can't. They need to develop the head voice so it'll be there to take over when they reach the passaggio (again, around F#, G). So sure, Rockwell Blake, Nicolai Gedda, & Jussi Björling say they HAVE no break. It's true, for them, but that's not true for many and some who say it was have simply forgotten a painful time when things weren't working so well.
Cheers!
So would you admit that when we sing the high c or higher, our larynx moves up than a low larynx?
I didn't quiet understand your question but if you ask if the larynx goes up - in classical singing - it doesn't. It stays middle- low and the most important thing - stable. It vibrates "on the air" but the amplitude of the vibration should be small, flexible and free. So small that we can't see it. So if you look at it it should stay low and stable wherever on your range you sing, low or high. Again - I'm talking here about a well built and trained classical (operatic) healthy technique.
Beautiful voice Dmitry!
Правда, что с возрастом ноты повыше могут "прорезаться сами"? мол появится больше шансов зацепить их после мутационного периода. Я не говорю про какие то С5, Е6, а про Ля верхнюю например.
И еще, какой по-вашему мнению у 17 летнего тенора в среднем самая высокая безопасная нота может быть?
Привет. 17 лет это очень молодой возраст. Про безопасные ноты - все индивидуально, но я бы советовал выше среднего фа не лезть (passaggio). Если хотите серьезно петь и не играть в опасные игры с голосом, то только с педагогом, и чем раньше тем лучше. Пытаться самому лезть на верх не имея вокальной техники это опасная игра для связок, а так же большой шанс зажаться и заучить неправильные навыки. Можете прислать запись, я посмотрю. Дмитрий.
You sound great .
Thanks a lot.
I would like to learn it but in popular singing
One can use it in popular singing as well of course, and it's much easier there than in opera.
OMG what a voice WOW
BRAVO !!
Do you have instagram?
The Passagio does not exist. Indeed what feels like a passage is that from E up we approach frequencies we do not use in the speaking and normal Volk-singing voice so there is gradually more effort to apply breath and voice in the exaggerated demands opera composers are prone to... but there is no real technical change.
No no no we must cover ..... ahhhhh to uhhhhh
Can you sing C4 to F4 in piano?
My pasagio D4 F4 my vocal range G2 C5 i'm Tenor o Baritone??
I have to actually hear. But generally speaking, if you feel that it starts getting hard around F and u need a change (to Falsetto for example) then you are probably have a tenor voice.
@@TenorDmitry I can send a record?😿
Hello. I'm light tenor.
it helped a lot thanks
Ok, fine for F. Maybe G. Please demonstrate this on Ab, A, and above.
Ciao. You can see it on some of my other vocal tips videos.
Do you play aperto in the passaio section? or Coperto?
The tenor passaggio, starting usually on F (can be d or F#, depends on the situation) , and there I go actually to the "covered mode". Here I show, how this more can be done very gently, just by darkening the sound a bit, without any major changes in the feeling of the singer.
You are baritone?
Tenor
Very lazy video, didn't explain anything, didn't give any deeper insight into the problematics of the topic. Didn't even give a proper demonstration of how the sound changes below, during and above the passaggio and what is the audible difference when there is more or less covering or air ot whatever you mentioned as a possible issue. Also in the demonstration the F didn't sound homogeneous to the rest of the range so didn't support the point of "there's no passaggio". Might as well made a 3 second video instead saying - "Don't overthink it!"
That's exactly what he said though. Discard what the others videos tell you, assuming we know about that and he even tells it in there too. That we should somewhat relax and flow and not overthink it and then the body will adapt and create the right technique and passagio that is your own.
@@timotialban2688 Or the body will find some coping mechanism that involves pushing and squeezing or over covering, while you (not thinking about it) will think that: "oh, this is it! Now I know how to sing high!"
You sound like a guy who knows how to type smart words.
Sharp
First of all Blake does not say that the Passaggio does not exist. He says that the passaggio is faced differently based on the style that is sung.
Secondly, the passaggio is not present in all voices and it is not always on the same notes, even if we are talking about two tenors or two baritones. Pavarotti had the passaggio on F, F # and Sol. My passaggio is on E, F and F #. Florez has no passaggio (lucky him). The passaggio must be faced with what is presented and if it is presented it does so clearly, to the student and to the teacher.
In a voice that sings in the right position, the passaggio is solved without effort, but, as Pavarotti says, this happens after a lot of study!
The passaggio depends on the vocality, on the physical characteristics of the single subject and it is not possible to make a unique speech for each singer. This video is misleading ...
Del Monaco changed his way of singing later in life, neglecting the passaggio area that he cared a lot as a young man.
It is the same thing as singing with a sunken larynx: all the great sing with a very low larynx. Pavarotti himself is an impeccable example of this, even if it doesn't seem so to bad listeners.
Blázen?
Teach me please
i don't understand anything ( i do not learn anything )
now Dmitry be reasonable
I mean... I guess I agree that there's no actual 'thing' called the passaggio, and I can see how this post is more of a counter-argument to bad teachers than a tutorial on navigating the different registers in your voice. If some people need to hear this, then they should hear this!
It's a fact that the human voice has different registers; transitioning between them in a natural way can be a challenge, and that's why so much effort has gone into helping singers navigate a passage between them. I don't think it's magic or overly complicated- it's more a trick to make the vowel small but let it sound big, so that you're singing at the bottom of your next register more often than at the top of your current one (which can be exhausting).
I would say it's not even a trick but a process followed by a lot of practicing, so one can do it "10 out of 10" And it becomes the natural and the only way for the singer. Then one can think of doing music and not of "how to go throgh it again". It's a process which requires a work with a good singing teacher that knows what he is doing.
No sound. Hmm? Doesn't appear to be my system.
Not a professional Singer, but to me it looks like the ones Who Say that during passaggio, very few change, are Just people with a particular kind of voice.. there are billions of people in the world, with billions of different instruments. There are people, expecially with highest voices Who can easily hit notes over a High C for which the change is so evident, that it almost seems to listen to 2 different singers.. I have never, never listen to any operatic Singer apart Pavarotti, where the you cant easily understand if they are above the passaggio. Pavarotti with his "dilegua notte" is One on hundreds singers, even with Better technique than him. In popular music, where range is more important than the purity of sounds, the change of voice is so often evident that I still believe that, Just a minority of people have a peculiar instruments according to, they dont Need particular technique to Sing in that area..
You talk about the passagio as if it is widening of the throat, which it is not! You describe a narrowing as if it is wrong which it is not wrong, too many singers sing wide, rather than opening a passage way head to chest, allowing resonance throughout the range, using the whole instrument, which appear to be doing when you sing is passagio!
Chiaroscuro is about balancing the passagio, without overdoing either part in the extreme. It is sad you denounce the great tenors and singers of the past!
Dear Simon. I do talk about narrowing (1.36) and i did not say anything about widening. BUT - the "narrowing" is also just a word, an internal feeling (since in reality nothing gets narrow. It's about the air pressure and resistance of the vocal cords. Now, "chiaroscuro" which just means "brightdark" is just a sensational term, "connecting the chest with the head" ect... We all can talk using thousend terms and thats what all teachers do, good and bad, but obviously many singers still don't feel comfortable on the passaggio and become nervous while getting there. The result is overthinking and overdoing, pressure and many times overworking which effects the high notes. The video is not for beginners but for developed singers with trained system who still experiance problems with this issue, and I just offer my subjective feelings and show the result. Talking is easy. If you think im wrong - u r welcome to open a camera on your phone and demonstrate your passaggio, so we can see how you do it, what you do there and may be learn from you (it will take you 10 min. To do so). Everybody talk and have an opinion, but not many can/dare to demonstrate how it works for them (if it does at all...). Singing is not a relligion but a physical skill.
@@TenorDmitry You mention the darkening, which no only comes from lowering the larynx, but also comes from widening, as the throat is opened, there is a tendency to widen, and that is where problems with opening the throat happen. There are too many artists, pressing down the laryx and widening the throat to get a false, richer sound.
As you say keeping the opening, of the throat with a consciences of staying narrow is crucial, I agree. But the passagio (passage), space above and below the larynx is critical.
As for Chiaroscuro, it is much much more than just a sensational term, it is the key to balance of the resonance between head and chest which is how you paint colour and depth with the voice!
@@TenorDmitry May do just that this week sometime. But I will carefully consider how this shall be done, when I get the time.
The best results when guiding a voice, come from the most secure and confident imagery, and the feelings and results created by a singers experience in learning and achieving. The traditional concept of the passagio is one essential piece in the puzzle.
Yes talking is easy, and it is easy, to talk and suggest you know more than the great masters of the past.
Anything I say or do around the subject will be inline supporting the traditional methods I have learnt. I may have other ways of approaching this, but generally that will be because every student and voice is different, and we all come from different starting points. It is important to to ensure we learn and understand our own voice, and develop our own voice as naturally and safely as possible, but the voice needs guidance with well founded technique, and I believe the ways of the thousands of maestros in the past should be carefully considered first by each individual, before straying from the well trodden Bel Canto path. The last thing we want is to become an impersonation of another singer!
You have just described and demonstrated the exact thing you say doesn’t exist, the passaggio. It’s foolish to talk negatively about an important technical aspect of a Tenor’s development on which all of the great tenors agree and talk about eg Pavarotti, Domingo, Aragall, Kaufman. Do not listen to Rockwell Blake, yes he had some amazing agility but his sound lacks warmth, he is one of those natural tenors who always had those upper notes but his sound is overly wide and raw and always too open. He is not the best point of reference for discussing the passaggio. Most Tenors agree to the existence of the passaggio than disagree.
Dear Jason. The passaggio does exist, and it takes time to cultivate it and work on it, learning to control it and use it properly. I've done it myself and it took years to develop. My point here is the final sensation, and the subjective feeling. I'm talking about the fact, that many Tenors are overthinking and overdoing it (used to it from the beginning of their vocal practicing), when at the end of the day it should become natural (for them ) and not to take too much effort, as well as not require too much mental preparation and approach of doing "something special" every time. The final feeling should be easy, stabile, fun and not heavy. The video is more for developed singers then for beginners. I passed myself through overpushing, overworking and overthinking then passaggio, so I hope this approach can help singers who are still feeling unstable with it.
Best regards!
It is difficult to take seriously someone who says do not listen to Blake, but listen to Kaufman...
@@TenorDmitry You are right Dimitry, I agree with you.
@@CamoflaugeDinosaue I agree! He talks about "great tenors" and include Dominggo and Kauffman to his list. Overrated tenors. Meanwhile he talks negatively about Rockwell Blake's openness technique. What even is 'too open'? Isn't the openness of the throat the way of Opera? I can't even take this comment seriously. Shame.
I think this is a lot of oversimplification from someone who has already mastered their passaggio
Im talking about the practical approach to get there. I'll say even more - at the beginning the student learns that there is a noticable "switch" , but trying to "make" This switch leads often to a stuck, suppreased backwards passaggio, which also requires way much effort that it really needs. The singer believes that thats the only way to get there, overworking on overdone passaggio and can't get the high notes trying to push even harder. The effective approach is the one i'm showing on the video.
@@TenorDmitry OH it clicked for me now that makes a lot more sense, thank you!!!
Vokalize avante no!
Dude. Let me guess. You are a natural tenor? 😂 Only a male vocalist with a naturally high singing voice would claim something like ‘nothing changes’.
This is fundamentally bad advice. Multiple things PHYSICALLY have to change for a male vocalist to successfully navigate e4 and above in a balanced way.
Just because it may ‘feel’ like nothing changes for you personally, does not mean that things are not changing