Having been a student of singing for over 50 yrs, I can testify personally that I have *never* been taught this passagio explanation and demonstration before. Bravo Jose! Keep it up!
Pity TH-cam wasn’t around when I was studying, this information cost me thousands back in the day 😂. You sound fantastic and your teaching style is wonderful.
His F is so resonant and beautiful. It is a representation that his technique is perfect. This is such practical instruction versus most teachers who just speak in vague metaphors. ❤
J’ai fait 5 années de conservatoire et toute ma carrière sans qu’aucun professeur ne réussisse à me faire comprendre le mécanisme de la « copertura ». J’ai toujours chanté en force avec l’angoisse de craquer les notes aiguës. Je découvre et comprends aujourd’hui ce mécanisme grâce à vous, avec le triste sentiment d’être passé à côté de ma vraie vie de chanteur. Le miracle d’une voix facile et homogène ne s’est jamais produit. Chanter était devenu une torture psychologique. Je vous remercie de votre message pédagogique. Je vois dans votre jeunesse et votre beauté, tout ce que j’ai perdu 😞😭😭😭
There's a magnetic allure to your teaching style with a genuine passion to want others to succeed. Watching your videos has helped me navigate better through the passaggio and prove maintaining a low larynx with immediate results. Thanks for sharing your talent and skills. When it makes clear sense, it makes exponential cents.
I find it so interesting that soo many more people notoriously have an issues with the larynx rising and speak in a way that encourages that as they ascend in pitch. I find this is such a thing with smaller/thinner instruments like light tenors and baritones or sopranos. While thicker dramatic ones, from basses to dramatic tenors and even some altos/mezzos we have the opposite issue which is we go for « too wide » a sound that leads to a woofy/airy sound that disrupts the resonance. I never found the passaggio difficult to shift into or sing in till I learned that my go-to MF to FORTE that naturally keep the larynx down and engages my support (because it feels like a projected yell) which is a necessary sound, was not the only way to sing up there. Now I feel like im learning what people with naturally thinner voices have to unlearn while all of them are learning how to do what I do naturally which is the tilt without dropping the larynx support especially on a true forte note. The nature of the instrument and the tendencies of singers really can give away alot of what future issues that will come across. Its interesting.
This is a very well articulated explanation of Bel Canto opera technique and the importance of incorporating the mix of head and chest registers. It helps you strengthen the “middle of the hourglass” shape of the natural voice’s strength, and form to into more of a controlled column by balancing the resonance between the nasal cavity and chest. I was trained by highly distinguished pedagogue Julie Freeman. As she would say, the purpose of this training, aside from the aesthetic and traditional qualities of affectation, it is to retrain your impulses to draw upon all the peripheral musculature surrounding the laryngal folds to take the strain off of the voice itself and let all the rest of the body share in the function of producing the desired vocal result. In essence training our body to do all the work so the voice itself can just be freed up to shine and show off as it pleases. This process takes a long time and ultimately the goal is to achieve “singers formant” perpetually. This is where the positioning of the musculature and control of air flow result in optimal placement to produce overtones at frequencies that are piercing, therefore less actual volume and effort are needed and a shinier sound is achieved. This is the means by which fully-trained opera singers are able to perform with any microphone while still filling an entire opera house with their voice above an orchestra. With time and dedication, the vocal folds are slowly stretched and strengthened, and one learns to position their inner musculature properly. My upper vocal range went from shouting an F4 as a Verdi Baritone to now being able to sing in a mix up to G5. My strongest chest notes are G#4 and A4, and my strongest upper mix notes are C#5 and D5. I am so thankful and grateful for the training I received and I hope God will provide the opportunities for me to use it for His glory.
Well, I understand your explanation and it’s totally ok for those who just start. Nevertheless the yawn position in the full would lead to a sound we call „Knödeln“ in the German speaking countries. Then it’s to extreme as it then can lead very easily to some tensions in the tongue. The next thing: Italian has already a lot of the „nosiness“ in the language whereas other languages - like German - are not as nasal. So, I‘m very much in the school of bel canto with the focus on the muscle „depressus septi Naso“ to be activated which will lead to a wider nostrils and this tension leads to the soft palate to get higher. It you watch the videos of Pavarotti you see this very well. So, that’s just meant additional. And of course, if you have an alto or a countertenor there are some little differences as well, especially where to start with adding head sound/falsetto.
For a long time I have been trying to find answers to this exact exercise, I finally not only got the concept of passage but also was able to produce it with great ease, I was never able to reach those high notes, I am very but very thankful. than you Jose.
You are great singing teacher! Several months ago, a voice teacher with a Ph.D. degree in music told me that I should not change vowel shapes while the voice was rising. But when I tried to hold the same vowel position while increasing the pitch, the singing became very difficult, I experienced a lot of muscle tension but still failed to maintain the save vowel with the same tone quality going through the passagio. This morning, I tried your way of shifting gears gradually while increased the pitch one note at a time. The result was more consistent tone quality holding the save vowel and sounded like I was singing the same way from middle range through mixed voice to head voice range. It is such a paradox! While I try to keep everything the same but the resulting sound effect is not the same. While I intentionally shift gears while singing in different ranges especially up and down the passagio, the resulting voice sounds like I was singing the same way throughout the range. Another important point you mentioned is that while going up the passagio, only expand the back part of the mouth and keep the front mouth tight. The resulting sound is more rounded, spacious and with soft head resonance. When I reach the top range, my voice volume is very small but with very good quality. I think it requires muscle strength to produce large sound volume in high range and it will take time to build that.
my voice teacher used to tell me to not think about registers, it's all one voice. Well, it's not, we switch the gear and only give an illusion of one voice, brilliant
Brilliant educator! Can't sing at all but I'm a long time opera aficionado. This will help me understand and appreciate singers' performances much better. Thank you!
The exact pitches of the passaggio vary slightly among tenors. That of heavier tenor voices will be slightly lower (young singers with potentially dramatic voices: take note). Listen to Jon Vickers, especially in performance of Act 1 of Die Walküre. The 1st, 2nd, and 3rd scenes of that act are perfectly composed to warm up that type of tenor, each subsequent scene being slightly higher in general tessitura than its predecessor. When the climactic high A finally arrives at the end of the act, it is a natural outpouring of sound, not mere blasting. Vickers is masterful in his use of this while maintaining a ferocious focus on delivering the text (which is the reason he walked out on Solti, who wanted him to downplay the text).
The salient points in this technique is , coincidentally, something we have in common, except that you elaborate on it more in this video lesson. Bravo, Jose!
JOsé querido , gracias , gracias ....como habrás trabajado para poder explicar el passaggio de esta formidable manera! Casi que vi la voz , por primera ves . Gracias , gracias ..sigue por favor ..Oscar de Córdoba Argentina .abrazo grande
This is so well explained!! I am glad you acknowledge that the chest has to start lessening around middle C - you hear that in good tenors who do it - but a lot of people seem to like to say that it's just all chest until f#/g which doesn't make sense to me. I love your concept of the nobs :)
ABSOLUTELY agree with this. Alot of female vocal teachers try to teach that males start mixing around F4. But as a male true baritone, I feel the need for a gear change start at middle C.
@@vocalbooth8585 yea I feel like it’s not a flip yet (which does happen after f) but there’s still a lightening of the sound that needs to happen - especially in tenor rep
Agree strongly with this as a probable contralto. Some people claim that mix only starts at G above middle C, they say this about tenors too, and it makes no sense to me either. I start lightening up around D and that way the transition is smooth as butter, no flipping into a weaker sound and no yelling. For clarification, I also have a transition at about F/G so tenor technique advice is very helpful to me. I don't have quite the same low notes as a tenor and the quality of our head voice is different but there's a lot of overlap :)
Bravissimo, thank you, José, for your time and wonderful explanation. My god, a better way to do it is not there. Perfect, keep up the good work. Love your craftsmanship and science. Big hug from the Netherlands. Jan
thank you so much ! What's interesting is that you explain WHY it works or doesn't work and so we can reproduce it consciously and not just because someone told us "open your mouth" "close your mouth".
Muchas gracias por compartir tus conocimientos. Eres muy buen comunicador y excelente profesor. Para cuando unas clases magistrales en Mallorca?. Estaríamos encantados de que nos enseñaste al coro del teatro principal de Palma. No se si tu agenda te permite hacer alguna opera con nosotros. Un gran abrazo!.
The educational quality of your videos is super 😊. It would be great if there were time stamps to quickly review each concept. I sing rock and pop genres with bands and so often see singers with no idea how their instrument functions. Even worse is trying to explain to musicians that voice is not controlled by a volume switch or simply yelling louder. I've subscribed 🤘
This was very informative. My teacher never explained the "seesaw" concept. Perfect explanation! I got this instantly and today got my first encore. Thank you
Bravissimo! Finalmente un ottimo cantante che riesce a spiegare chiaramente come la voce puó trovare nella massima libertà la strada giusta. Non confondere il mezzo col fine!!! Grazie per la chiarissima spiegazione e anche per gli esempi di errori da non commettere ( e che è facile commettere!). E complimenti per la Sua bella voce e la grande intelligenza interpretativa! Peccato non esserci conosciuti di persona! Buona fortuna per la Sua carriera! Andrea Panaccione
Best video! Thank you for the good and bad examples. I have to admit, I did get a good laugh at how extremely clear the bad examples were. You’re absolutely right 😂 👌. Thank you!
Quite incredible. You have managed to explain navigating the passaggio in the simplest terms that I can understand and apply successfully by copying what you show. Over the last 30 years I've had about 4 different so-called teachers and none of them have managed to show me. I'm now singing through the passaggio with relative ease and I know with further practice I will master it once and for all and not be afraid every time I have to approach those notes. Thank you so much. Also to explain that for the higher notes above A that you need to open the mouth is a revelation. First time I tried it I sung and easy B natural and C for the first time ever without straining. I was always keeping my mouth closed for those high notes. Your other videos about the importance of chord closure have also been a revelation and I have been practicing that to great effect.
I love your lessons, it resonates with me and my body. Literally today I struggled with high note in Paul Anka's "Put your head on my shoulder" and this one lesson and pharyngeal adjustment made it doable with little to no effort. wow
Gracias por compartir tan generosamente tus conocimientos, José! O sea , "si canta como si parla" vale hasta el do central para el tenor, hasta el si o si bemol para el barítono.
I have been struggling with singing for so long and not being able to sing C4-E4 at any good volume, but this video was the key and now I can sing super loud at any pitch thank you
Now that my teacher has finally approved of me singing « Che gelida manina », I realised that as a Tenor the issue of the passaggio (F/ F sharp/G) will always be there, no matter how high you can go 😅
Excelente!!!! Muchas gracias, es muy claro todo y que satisfactorio es afirmar cosas y depurar otras, yo estaba comprimiendo la laringe y esto me ayudó a verlo. Abrazos y bendiciones
I always wanted to learn how to sing Opera, so I finally decided to look for some lessons online. I already have an understanding of how to Scream for Metal, and it has helped as I have been teaching myself Opera and I'm learning at a decent pace. Your lessons are by far the best and most understanding I have come across. Thank you so much for it.
God! dear awesome tenor I knew this " trick"; due I have many " subscrition" ; I saw a good russian teacher asked her student to put a " " cork" in her mouth; I write him asked for curiosity; he answered me back very gently and explain the principle of " fisics" produced by the resistency of " air' which it help in vibrato, resonance and endurance and on the other hand " the cork" mantain the yawn into position; baskets of mellismS of thanks😅❤❤
I must confess I've been indulging in "overusing" headvoice when I get to the passagio and beyond (as in: like 80% head voice for an F?) because I just have operatic singing as a hobby and even then most of my repertoire is symphonic metal, but your explanation makes me want to try to have this balance some more. I just have to wait for daylight and I'll be sure to rewatch and practice! Thank you!
Thank you very much for explaning the mixing of head and chest voice, this is just what I needed, because it became a struggle and a fight, between different views that I heard!
Thanks Jose ❤ I am currently singing till E4 in belting and when I hit F4 I strained my voice yet I sometimes sing some songs till A4 I do it by instinct. But never knew that opera is so complex but bless you ❤
Thank you so much for this. Having been diagnosed incorrectly as a baritone for much of my life, I'm just learning to manage the passaggio and to discover the new world above F#. This is super-helpful and practical as I'm singing "Je crois entendre encore" in a couple of days, and it dances around the passagio a lot.
God! awesome tenor and magister; I 'm opera student ; specially " baroque"; I need my voice" floating"...any advice? on the other hand I have never , ever have such an accurate and clear explanation; short, precise, no words to describe your " dedication" to student...thanks MAESTRO❤❤❤😅
This is very interesting and is very clearly explained. I shall be playing it to students. I agree with 98% of what Jose says, which is remarkable, given that I have had an international professional tenor career and been a Professor of Vocal Pedagogy. I have a different concept of "cover" or "deckung", but that is just semantics. What he call cover works 100% .Well worth listening to. Bravo.
Top notch video Jose. Thanks for the intelligent, intuitive and understandable explanation to something that so many folks make into an almost unachievable mystery. Grazie mille!
This is a great lesson. Very well summarized! I will reccomend it to my students. Thank you very much for this! (Just a thought on your vocal crack theory though: In my teaching experience vocal cracks most likely occur if the singer is not able to sustain the vocal cord closure due to either not enough support for a chesty mixture, or too much subglottal perssure for a (too) light mixture. The bouncing larynx is more of a visible sign for this.) Anyhow: Great insights, great channel!
José, tus videos son masterclasses. Por el momento con mi cambio de ciudad no puedo estudiarlos como corresponde, pero me alegro de hacerlo estando en mi nuevo ambiente. Te sugiero que almacenes tus videos en tu PC. Safe them. A veces google y youtube cambian sus requisitos y cuesta un mundo adaptarse. Sería imperdonable perder tanta dedicación y tanto amor.
Having been a student of singing for over 50 yrs, I can testify personally that I have *never* been taught this passagio explanation and demonstration before. Bravo Jose! Keep it up!
7 years of vocal training and you teach me more about singing in 20 min. 😮
Same here
For reaaaalll
how do we meet him and get lessons with him weekly!!! i need to be the best singer ever
Pity TH-cam wasn’t around when I was studying, this information cost me thousands back in the day 😂. You sound fantastic and your teaching style is wonderful.
His F is so resonant and beautiful. It is a representation that his technique is perfect. This is such practical instruction versus most teachers who just speak in vague metaphors. ❤
This is the best signing masterclass on the passagio ever!!!
J’ai fait 5 années de conservatoire et toute ma carrière sans qu’aucun professeur ne réussisse à me faire comprendre le mécanisme de la « copertura ». J’ai toujours chanté en force avec l’angoisse de craquer les notes aiguës. Je découvre et comprends aujourd’hui ce mécanisme grâce à vous, avec le triste sentiment d’être passé à côté de ma vraie vie de chanteur. Le miracle d’une voix facile et homogène ne s’est jamais produit. Chanter était devenu une torture psychologique. Je vous remercie de votre message pédagogique. Je vois dans votre jeunesse et votre beauté, tout ce que j’ai perdu 😞😭😭😭
Your language, demonstrations, and easy way of following has def filled in some pot holes in my own vocal technique. You deserve a Dundie Award!
🙏 Dundie!!! 🏆 😂😂
@@Tenor_Simerilla😂😂😂
20 years ago , a half hour of voice lesson was around 60$ for some teachers and this is one of the best explanations I’ve heard. Thanks
There's a magnetic allure to your teaching style with a genuine passion to want others to succeed. Watching your videos has helped me navigate better through the passaggio and prove maintaining a low larynx with immediate results. Thanks for sharing your talent and skills. When it makes clear sense, it makes exponential cents.
@@anthonyspirlark thank you very much! 🙏❤️❤️
These topics are explained and demonstrated brilliantly in so many ways! You don’t get this from your typical voice teacher. Thank you brother
I find it so interesting that soo many more people notoriously have an issues with the larynx rising and speak in a way that encourages that as they ascend in pitch. I find this is such a thing with smaller/thinner instruments like light tenors and baritones or sopranos. While thicker dramatic ones, from basses to dramatic tenors and even some altos/mezzos we have the opposite issue which is we go for « too wide » a sound that leads to a woofy/airy sound that disrupts the resonance.
I never found the passaggio difficult to shift into or sing in till I learned that my go-to MF to FORTE that naturally keep the larynx down and engages my support (because it feels like a projected yell) which is a necessary sound, was not the only way to sing up there. Now I feel like im learning what people with naturally thinner voices have to unlearn while all of them are learning how to do what I do naturally which is the tilt without dropping the larynx support especially on a true forte note.
The nature of the instrument and the tendencies of singers really can give away alot of what future issues that will come across. Its interesting.
This is how to do it. I use exact the same technique when I'm singing modern music. Never had any voice problems last 15 year using this approach.
What kind of modern music are you speaking of? What genre of music?
This is a very well articulated explanation of Bel Canto opera technique and the importance of incorporating the mix of head and chest registers. It helps you strengthen the “middle of the hourglass” shape of the natural voice’s strength, and form to into more of a controlled column by balancing the resonance between the nasal cavity and chest. I was trained by highly distinguished pedagogue Julie Freeman. As she would say, the purpose of this training, aside from the aesthetic and traditional qualities of affectation, it is to retrain your impulses to draw upon all the peripheral musculature surrounding the laryngal folds to take the strain off of the voice itself and let all the rest of the body share in the function of producing the desired vocal result. In essence training our body to do all the work so the voice itself can just be freed up to shine and show off as it pleases. This process takes a long time and ultimately the goal is to achieve “singers formant” perpetually. This is where the positioning of the musculature and control of air flow result in optimal placement to produce overtones at frequencies that are piercing, therefore less actual volume and effort are needed and a shinier sound is achieved. This is the means by which fully-trained opera singers are able to perform with any microphone while still filling an entire opera house with their voice above an orchestra. With time and dedication, the vocal folds are slowly stretched and strengthened, and one learns to position their inner musculature properly.
My upper vocal range went from shouting an F4 as a Verdi Baritone to now being able to sing in a mix up to G5. My strongest chest notes are G#4 and A4, and my strongest upper mix notes are C#5 and D5. I am so thankful and grateful for the training I received and I hope God will provide the opportunities for me to use it for His glory.
I love the sound of your voice.
Wow, I just found your channel, and you are wonderful! What a beautiful voice! I'm a soprano, and this video was still super interesting!! Bravo!
the yawn exercise is so good i actuallly feel my voice opening up like never before
Well, I understand your explanation and it’s totally ok for those who just start.
Nevertheless the yawn position in the full would lead to a sound we call „Knödeln“ in the German speaking countries. Then it’s to extreme as it then can lead very easily to some tensions in the tongue.
The next thing: Italian has already a lot of the „nosiness“ in the language whereas other languages - like German - are not as nasal.
So, I‘m very much in the school of bel canto with the focus on the muscle „depressus septi Naso“ to be activated which will lead to a wider nostrils and this tension leads to the soft palate to get higher. It you watch the videos of Pavarotti you see this very well.
So, that’s just meant additional.
And of course, if you have an alto or a countertenor there are some little differences as well, especially where to start with adding head sound/falsetto.
This was by far the clearest video I've ever encountered on this topic. Thank you very much for your thorough explanation...
That’s brilliant! You’re a fantastic singer with an outstanding technique 👏🏻👏🏻👏🏻👏🏻👏🏻
Браво!!!
For a long time I have been trying to find answers to this exact exercise, I finally not only got the concept of passage but also was able to produce it with great ease, I was never able to reach those high notes, I am very but very thankful. than you Jose.
Wow! Best description I have ever heard
Excellent singing class! Clear, precise, useful, understandable and WOW! what a beautiful voice!
You are great singing teacher! Several months ago, a voice teacher with a Ph.D. degree in music told me that I should not change vowel shapes while the voice was rising. But when I tried to hold the same vowel position while increasing the pitch, the singing became very difficult, I experienced a lot of muscle tension but still failed to maintain the save vowel with the same tone quality going through the passagio.
This morning, I tried your way of shifting gears gradually while increased the pitch one note at a time. The result was more consistent tone quality holding the save vowel and sounded like I was singing the same way from middle range through mixed voice to head voice range. It is such a paradox! While I try to keep everything the same but the resulting sound effect is not the same. While I intentionally shift gears while singing in different ranges especially up and down the passagio, the resulting voice sounds like I was singing the same way throughout the range. Another important point you mentioned is that while going up the passagio, only expand the back part of the mouth and keep the front mouth tight. The resulting sound is more rounded, spacious and with soft head resonance. When I reach the top range, my voice volume is very small but with very good quality. I think it requires muscle strength to produce large sound volume in high range and it will take time to build that.
Wonderful! Keep at it! Glad I was of help! 🙏
my voice teacher used to tell me to not think about registers, it's all one voice. Well, it's not, we switch the gear and only give an illusion of one voice, brilliant
Even though I’m a woman, I like information like this. At the end of the day, anybody can use how to figure out navigating the Passagio. Thank you.
Brilliant educator! Can't sing at all but I'm a long time opera aficionado. This will help me understand and appreciate singers' performances much better. Thank you!
The exact pitches of the passaggio vary slightly among tenors. That of heavier tenor voices will be slightly lower (young singers with potentially dramatic voices: take note). Listen to Jon Vickers, especially in performance of Act 1 of Die Walküre. The 1st, 2nd, and 3rd scenes of that act are perfectly composed to warm up that type of tenor, each subsequent scene being slightly higher in general tessitura than its predecessor. When the climactic high A finally arrives at the end of the act, it is a natural outpouring of sound, not mere blasting. Vickers is masterful in his use of this while maintaining a ferocious focus on delivering the text (which is the reason he walked out on Solti, who wanted him to downplay the text).
This is a real simple and super useful explanation for something that it’s been for centuries the headache of all lyric singers
The salient points in this technique is , coincidentally, something we have in common, except that you elaborate on it more in this video lesson. Bravo, Jose!
Jose, Man, these are such great explanations. Thanks so much.
Great lesson! Thank you. You vocals are extraordinary
For the very first time I transitioned my registers smoothly. Thanks a ton !
JOsé querido , gracias , gracias ....como habrás trabajado para poder explicar el passaggio de esta formidable manera! Casi que vi la voz , por primera ves .
Gracias , gracias ..sigue por favor ..Oscar de Córdoba Argentina .abrazo grande
This is so well explained!! I am glad you acknowledge that the chest has to start lessening around middle C - you hear that in good tenors who do it - but a lot of people seem to like to say that it's just all chest until f#/g which doesn't make sense to me. I love your concept of the nobs :)
ABSOLUTELY agree with this. Alot of female vocal teachers try to teach that males start mixing around F4. But as a male true baritone, I feel the need for a gear change start at middle C.
@@vocalbooth8585 yea I feel like it’s not a flip yet (which does happen after f) but there’s still a lightening of the sound that needs to happen - especially in tenor rep
definitely, acknowledging that there is a first passagio to adjust for is key to navigating the second passagio in the notes to come.
Agree strongly with this as a probable contralto. Some people claim that mix only starts at G above middle C, they say this about tenors too, and it makes no sense to me either. I start lightening up around D and that way the transition is smooth as butter, no flipping into a weaker sound and no yelling.
For clarification, I also have a transition at about F/G so tenor technique advice is very helpful to me. I don't have quite the same low notes as a tenor and the quality of our head voice is different but there's a lot of overlap :)
What a wonderful video! I am a vocal coach and love this explanation!!!
Bravissimo, thank you, José, for your time and wonderful explanation. My god, a better way to do it is not there. Perfect, keep up the good work. Love your craftsmanship and science. Big hug from the Netherlands. Jan
thank you so much ! What's interesting is that you explain WHY it works or doesn't work and so we can reproduce it consciously and not just because someone told us "open your mouth" "close your mouth".
Ma che bella spiegazione, Josè! Grazie, sei bravissimo! ❤
Nunca me explicaron este ejercicio tan bien!!! 😮👌👏
Muchas gracias por compartir tus conocimientos. Eres muy buen comunicador y excelente profesor. Para cuando unas clases magistrales en Mallorca?. Estaríamos encantados de que nos enseñaste al coro del teatro principal de Palma. No se si tu agenda te permite hacer alguna opera con nosotros. Un gran abrazo!.
The best teacher for our voice🎉and the most handsome 🎉 utube John Bavas Crazy
An excellent demonstration of the preparation particularly the mouth position. Thank you very much.
You're the best!!! This is exactly what I was taught.
Wow! Now I understand my problem! I have been trying to sing everything in chest voice. Great video. Thank you!!
Thanks a million, Jose ❤❤❤
concise and to the point.
I think i figured out now, how to sing without straining the voice. Thanks a lot :)
The educational quality of your videos is super 😊. It would be great if there were time stamps to quickly review each concept. I sing rock and pop genres with bands and so often see singers with no idea how their instrument functions. Even worse is trying to explain to musicians that voice is not controlled by a volume switch or simply yelling louder. I've subscribed 🤘
A really good explication! Bravo maestro!!
Very informative mister. Thanks. Please post some exercises also.
This was very informative. My teacher never explained the "seesaw" concept. Perfect explanation! I got this instantly and today got my first encore. Thank you
Far out Gigli is magnificent
Great lesson
Bravissimo! Finalmente un ottimo cantante che riesce a spiegare chiaramente come la voce puó trovare nella massima libertà la strada giusta. Non confondere il mezzo col fine!!! Grazie per la chiarissima spiegazione e anche per gli esempi di errori da non commettere ( e che è facile commettere!). E complimenti per la Sua bella voce e la grande intelligenza interpretativa! Peccato non esserci conosciuti di persona! Buona fortuna per la Sua carriera! Andrea Panaccione
Best video! Thank you for the good and bad examples. I have to admit, I did get a good laugh at how extremely clear the bad examples were. You’re absolutely right 😂 👌. Thank you!
Wow. You’re a great teacher.
Quite incredible. You have managed to explain navigating the passaggio in the simplest terms that I can understand and apply successfully by copying what you show. Over the last 30 years I've had about 4 different so-called teachers and none of them have managed to show me. I'm now singing through the passaggio with relative ease and I know with further practice I will master it once and for all and not be afraid every time I have to approach those notes. Thank you so much. Also to explain that for the higher notes above A that you need to open the mouth is a revelation. First time I tried it I sung and easy B natural and C for the first time ever without straining. I was always keeping my mouth closed for those high notes. Your other videos about the importance of chord closure have also been a revelation and I have been practicing that to great effect.
Two thumbs up from Indonesia 🇮🇩🇮🇩 i love ur explanation 👍👍🙏
I love your lessons, it resonates with me and my body. Literally today I struggled with high note in Paul Anka's "Put your head on my shoulder" and this one lesson and pharyngeal adjustment made it doable with little to no effort. wow
GENIUS, THANKS MAN, ITS COMLETLY JUST WHAT I SEARCHED SINCE I WAS 16, LIKE, 7 YEARS
Gracias por compartir tan generosamente tus conocimientos, José! O sea , "si canta como si parla" vale hasta el do central para el tenor, hasta el si o si bemol para el barítono.
I have been struggling with singing for so long and not being able to sing C4-E4 at any good volume, but this video was the key and now I can sing super loud at any pitch thank you
Now that my teacher has finally approved of me singing « Che gelida manina », I realised that as a Tenor the issue of the passaggio (F/ F sharp/G) will always be there, no matter how high you can go 😅
Excelente!!!! Muchas gracias, es muy claro todo y que satisfactorio es afirmar cosas y depurar otras, yo estaba comprimiendo la laringe y esto me ayudó a verlo. Abrazos y bendiciones
I always wanted to learn how to sing Opera, so I finally decided to look for some lessons online. I already have an understanding of how to Scream for Metal, and it has helped as I have been teaching myself Opera and I'm learning at a decent pace. Your lessons are by far the best and most understanding I have come across. Thank you so much for it.
Thank you so much. Although I am not an opera singer, this video has really helped me understand how to navigate these areas of my voice.
The best video about passaggio I ever found here! So helpful, thank you very much ❤
I love and appreciate your teaching. You're a smart masterpiece ❤. Bravo brother🙋♂️
BRAVO Jose!
Jose, благодарю за подсказки и помощь. mi piace. Grazie mille signor. Questo e molto importante per me.
God! dear awesome tenor I knew this " trick"; due I have many " subscrition" ; I saw a good russian teacher asked her student to put a " " cork" in her mouth; I write him asked for curiosity; he answered me back very gently and explain the principle of " fisics" produced by the resistency of " air' which it help in vibrato, resonance and endurance and on the other hand " the cork" mantain the yawn into position; baskets of mellismS of thanks😅❤❤
❤ תודהההה על העברית
I must confess I've been indulging in "overusing" headvoice when I get to the passagio and beyond (as in: like 80% head voice for an F?) because I just have operatic singing as a hobby and even then most of my repertoire is symphonic metal, but your explanation makes me want to try to have this balance some more. I just have to wait for daylight and I'll be sure to rewatch and practice!
Thank you!
Man you’re a great teacher 🙌🏾🔥 thanks
THANKS.. 7 YEARS SINGING AND ALWAYS THE SAME PROBLEM ❤️, i gona try It tomorrw , i dont know if im baritenor, baritone or tenor but THANKS
That was the best explanation I ever found. Thanks so much, Jose!
Thank you very much for explaning the mixing of head and chest voice, this is just what I needed, because it became a struggle and a fight, between different views that I heard!
Thanks Jose ❤ I am currently singing till E4 in belting and when I hit F4 I strained my voice yet I sometimes sing some songs till A4 I do it by instinct. But never knew that opera is so complex but bless you ❤
Yes, for tenors and sopranos it"s correct !
What a great and clear explanation.
Thank you so much for this. Having been diagnosed incorrectly as a baritone for much of my life, I'm just learning to manage the passaggio and to discover the new world above F#. This is super-helpful and practical as I'm singing "Je crois entendre encore" in a couple of days, and it dances around the passagio a lot.
Thank you so much for your fantastic explanation on the passagio issue!
I LOVE YOU MAN YOU SOLVED MY PROBLEM
God! awesome tenor and magister; I 'm opera student ; specially " baroque"; I need my voice" floating"...any advice? on the other hand I have never , ever have such an accurate and clear explanation; short, precise, no words to describe your " dedication" to student...thanks MAESTRO❤❤❤😅
Thank you so much for this video! You managed to explain and demonstrate it so thoroughly that it became easy to understand.
This is very interesting and is very clearly explained. I shall be playing it to students. I agree with 98% of what Jose says, which is remarkable, given that I have had an international professional tenor career and been a Professor of Vocal Pedagogy. I have a different concept of "cover" or "deckung", but that is just semantics. What he call cover works 100% .Well worth listening to. Bravo.
Concise, instructive, and inspiring. Keep it up!
what a phenomenal video, thank you Maestro.
Excellent informative vocal lesson
Pure gold! Thank you sir!
Top notch video Jose. Thanks for the intelligent, intuitive and understandable explanation to something that so many folks make into an almost unachievable mystery. Grazie mille!
Brilliant!! Thank you so much! ❤❤❤
Just tried the bottle cap exercise. Pretty amazing reference tool. Thank you!
This is a great lesson. Very well summarized! I will reccomend it to my students. Thank you very much for this!
(Just a thought on your vocal crack theory though: In my teaching experience vocal cracks most likely occur if the singer is not able to sustain the vocal cord closure due to either not enough support for a chesty mixture, or too much subglottal perssure for a (too) light mixture. The bouncing larynx is more of a visible sign for this.) Anyhow: Great insights, great channel!
This is a great great explanation, thanks for sharing!
I'm in love. You are a fantastic teacher.
So glad you’re feeling better! Love your tech talks
Well done, brother.
God bless.
Thank you. Very humble .Well explained
José, tus videos son masterclasses. Por el momento con mi cambio de ciudad no puedo estudiarlos como corresponde, pero me alegro de hacerlo estando en mi nuevo ambiente. Te sugiero que almacenes tus videos en tu PC. Safe them. A veces google y youtube cambian sus requisitos y cuesta un mundo adaptarse. Sería imperdonable perder tanta dedicación y tanto amor.
Jose Sir, very well explained, THANK YOU!!!😊