The knowledge shared in master John videos is priceless indeed, but still, needs the right guidance to get the most out of it. I will strongly recommend to take lessons with him, to consolidate the knowledge in the proper manner, he corrected myself from many wrongs I thought I was doing right, take lessons and find out what I mean, the one who will benefit the most it will be you in the end, if you really care about your vocal health. It will really pay off, I know that for sure. It's your call!
Hi, great content! I can sing from tenor high C to an A above using a mechanism that is not a mix of chest and falsetto and not a pure falsetto but a kind of mix between falsetto and flageolet (whistle), what you can say about "male whistle"? When younger (up to 25 years old) I could blend with whistle and go higher (in that time I could sing the notes of the queen of night and some notes above, but now the whistle notes I can only acess one hour in the morning after wake up). I can sing with a mixed "voce piena di testa" from high tenor C to the same A above of the other mechanism, and B and A under high C are more easily sung in descending slides after I sing a high C or notes above it. But it's very difficult to sing F, F#, G and G# without tension in long durations or phrases that stay in this second passagio zone. What exercises are the best to this passagio zone ? I think it's easier to sing 15 seconds of a high C than sing in the passagio. Sorry my bad english (I'm brazilian). In choir up to now I usualy sung more with bass/baritones (I can sing easily the G of the bottom of F clef and with less power a E or Eb under this G), I started to sing in choir with 14 after the puberty break (the break was more ou less when 13 years old)
The tenor high notes just above the passaggio (middle C - E) are the hardest as they require exactly the right amount of chest coordination. Too much and the voice will thicken, too little and there will be constriction. It really is just a process of trial and error (preferably with a teacher who knows about register coordination) until the right balance is found.
@JussiPaul thank you. I will try to put less chest. I can't figure in my mind how too little chest causes constriction maybe cause I often put excessive chest in these notes and never tried to put little. In exercices It's better to start from high tenor c and in descending notes "unzip" the vocal chord or ascending exercices from middle c letting gradually more falsetto mecanism be involved?
I think our range is the same...I can pull an e out once in awhile, but e-flat is about the highest. However for me, I haven't found that C is any different than the notes leading up to it.
That`s interesting! The high C zips up ie. the vocal folds only vibrate at the ends so there is definitely a difference between B and C. Do you feel any difference on the C sharp or D?
@@JussiPaul Not really much difference once I feel I am in Head voice. A flat, I feel something happens in my larynx, but from there up, all feels pretty much the same. I am not able to do your Chiaro onsets that very well may change how it all feels and sounds up there. I reckon we will have to figure these things out when I take our lessons together. Still working on it and will be in touch.
The Scuro comes from the dark falsetto sounds and the chiaro comes once you are able to fully bring in the TA tension with the bright 'ah' vowel and hence create the fully coordinated sound. This is the ONLY way to get Chiaroscuro! Most voices today are either 'Chiaro' or 'Scuro' ie. chiaro voices are unnaturally high larynx produced and scuro voices are unnaturally low larynx produced. The larynx needs to stay in a natural position.
@@JussiPaul Actually, POP-Singers who got taught by CVT sing with a neutral position of the larynx. Isn't that paradox? I never read that old school singers like MDM were taught so much in falsetto as an operatic stage singer can't really use it. Instead, Garcia and as well Melocchi taught the lowered larynx position that - refering Garcia's point of view - gives the scuro. Low breathing gives a trigger to lower the larynx automatically. Isn't it that what we want? Low and calm breathing?
@@thevoicepath I trained with a student of MDM and it was basically just the same as I teach ie. falsetto and chest register building. The chest voice feels loud inside but it doesn't carry in the theatre so it needs to coordinate with falsetto to create the squillo ringing tone. Melocchi did advocate lowering the larynx and that is why Corelli wouldn't train with him but went to Lauri Volpi instead. There's nothing in the work of Garcia that indicates a lowered larynx. Yes, low breathing is VERY important but it is the falsetto 'oo' vowel which will create the conditions for the naturally lowered larynx position. Once this natural low larynx position is achieved then one can start to bring the TA muscles back in and try for the 'Chiaro' 'ah' vowel throughout the whole voice. If you don't believe me then read the books of Anthony Frisell and Douglas Stanley.
@@JussiPaul Oh wow, with whom did you study? That's quite adorable. As far as I know the overtones make the voice flying through the opera house. As it is documented, Pavarotti didn't had the biggest voice but you could hear him at the last seat. As Belcanto teachers teach the inhalare and the cupola technique with good appoggiare. I agree that for light tenor voices the falsetto is very close to their TA dominant sound but I can't agree that this works the same way for heavier voices. Actually, when you ask 10 professional operatic singers how they sing 10/10 say that they sing with a lowered larynx. Corelli already could sing before he went to Lauri Volpi. He just was there for some weeks in a year. I did read Frisell's books refering the different voices and Douglas Stanley's "Your Voice" whereas I even prefer more Stanley even though it is the functional way of singing. Since Garcia started to work with the laryngoscope he discovered the use of the lowered larynx. Most singers do not know how to use it properly.
@@thevoicepath A fully trained singer will have a lower larynx but this comes from years of developing the falsetto 'oo' sound. If you try to rush this by 'yawning' then you will inevitably constrict the throat. Depressing the tongue and hence the whole mechanism doesn't create more space between the thyroid cartilage and the hyoid bone it just means the constriction is lower. Only by opening up that space can one sing with complete freedom. Stanley is quite clear about this and the only way to open up this space is with the 'oo' falsetto. The only physical way to speed the process up is to insert fingers between hyoid and thyroid while one is singing. I do this with some students and it really helps! As for the point about 'heavier' voices needing a different technique I respectfully disagree. I've worked with a couple of heavier voices and the only difference is that their falsetto sound is huge. Why not utilise the natural hugeness of the falsetto instead of trying to push up 'weak' chest voice? Only a slimmed down chest voice coordinated with falsetto can produce the type of huge ringing tones that the old voices had. I have only ever heard one truly 'big' voice live and that was a Russian soprano. I won't mention the famous tenor's name but let's just say he was inaudible when up against a falsetto dominant voice of such magnitude! Believe me, chest voice doesn't cut it in the theatre!
Thanks for your comment! Most people mistake constriction for squillo these days. My squillo is getting more powerful every day but one can't rush it otherwise it becomes constriction. The squillo grows gradually as the CT muscle gets strong enough to allow more TA tension to enter the coordination. One needs to be careful that the TA muscle doesn't dominate in an attempt to make a brighter sound. Most voices these days are either too bright or too dark. The perfect voice should be Chiaroscuro (bright and dark).
You have just unblocked my répertoire, finally I have it ! No words to thanks you...
That's wonderful! I wish you all the best!
This is the best, clearest explanation for the high c ive ever found. Thank you.
Very very knowledgeable stuff.
Awesome video👏🏻
Love your videos!! Thank you ^_^
Very helpful.
Thanks so much!
The knowledge shared in master John videos is priceless indeed, but still, needs the right guidance to get the most out of it. I will strongly recommend to take lessons with him, to consolidate the knowledge in the proper manner, he corrected myself from many wrongs I thought I was doing right, take lessons and find out what I mean, the one who will benefit the most it will be you in the end, if you really care about your vocal health. It will really pay off, I know that for sure. It's your call!
Hi, great content! I can sing from tenor high C to an A above using a mechanism that is not a mix of chest and falsetto and not a pure falsetto but a kind of mix between falsetto and flageolet (whistle), what you can say about "male whistle"? When younger (up to 25 years old) I could blend with whistle and go higher (in that time I could sing the notes of the queen of night and some notes above, but now the whistle notes I can only acess one hour in the morning after wake up). I can sing with a mixed "voce piena di testa" from high tenor C to the same A above of the other mechanism, and B and A under high C are more easily sung in descending slides after I sing a high C or notes above it. But it's very difficult to sing F, F#, G and G# without tension in long durations or phrases that stay in this second passagio zone. What exercises are the best to this passagio zone ? I think it's easier to sing 15 seconds of a high C than sing in the passagio. Sorry my bad english (I'm brazilian). In choir up to now I usualy sung more with bass/baritones (I can sing easily the G of the bottom of F clef and with less power a E or Eb under this G), I started to sing in choir with 14 after the puberty break (the break was more ou less when 13 years old)
I think maybe I'm a tenor but it's easier for me to sing in choir bass, alto and soprano except if I use the falsetto in tenor high parts.
The tenor high notes just above the passaggio (middle C - E) are the hardest as they require exactly the right amount of chest coordination. Too much and the voice will thicken, too little and there will be constriction. It really is just a process of trial and error (preferably with a teacher who knows about register coordination) until the right balance is found.
@JussiPaul thank you. I will try to put less chest. I can't figure in my mind how too little chest causes constriction maybe cause I often put excessive chest in these notes and never tried to put little. In exercices It's better to start from high tenor c and in descending notes "unzip" the vocal chord or ascending exercices from middle c letting gradually more falsetto mecanism be involved?
@@inspiradonogregoriano Yes, working downwards is good!
@@JussiPaul thank you!
Thank you...Please keep these videos on youtube....BUT SOON I WILL START LESSONS WITH YOU ..
I have no intention of taking them off TH-cam but I won't be making any more videos for a while as I am currently writing my book on singing.
I think our range is the same...I can pull an e out once in awhile, but e-flat is about the highest. However for me, I haven't found that C is any different than the notes leading up to it.
That`s interesting! The high C zips up ie. the vocal folds only vibrate at the ends so there is definitely a difference between B and C. Do you feel any difference on the C sharp or D?
@@JussiPaul Not really much difference once I feel I am in Head voice. A flat, I feel something happens in my larynx, but from there up, all feels pretty much the same. I am not able to do your Chiaro onsets that very well may change how it all feels and sounds up there. I reckon we will have to figure these things out when I take our lessons together. Still working on it and will be in touch.
@@OrbisonTributeArtist Yes, we can look at that issue when we meet.
How to get chiaroscuro into high notes refering this way of reaching high notes?
The Scuro comes from the dark falsetto sounds and the chiaro comes once you are able to fully bring in the TA tension with the bright 'ah' vowel and hence create the fully coordinated sound. This is the ONLY way to get Chiaroscuro! Most voices today are either 'Chiaro' or 'Scuro' ie. chiaro voices are unnaturally high larynx produced and scuro voices are unnaturally low larynx produced. The larynx needs to stay in a natural position.
@@JussiPaul Actually, POP-Singers who got taught by CVT sing with a neutral position of the larynx. Isn't that paradox?
I never read that old school singers like MDM were taught so much in falsetto as an operatic stage singer can't really use it.
Instead, Garcia and as well Melocchi taught the lowered larynx position that - refering Garcia's point of view - gives the scuro.
Low breathing gives a trigger to lower the larynx automatically. Isn't it that what we want? Low and calm breathing?
@@thevoicepath I trained with a student of MDM and it was basically just the same as I teach ie. falsetto and chest register building. The chest voice feels loud inside but it doesn't carry in the theatre so it needs to coordinate with falsetto to create the squillo ringing tone. Melocchi did advocate lowering the larynx and that is why Corelli wouldn't train with him but went to Lauri Volpi instead. There's nothing in the work of Garcia that indicates a lowered larynx. Yes, low breathing is VERY important but it is the falsetto 'oo' vowel which will create the conditions for the naturally lowered larynx position. Once this natural low larynx position is achieved then one can start to bring the TA muscles back in and try for the 'Chiaro' 'ah' vowel throughout the whole voice. If you don't believe me then read the books of Anthony Frisell and Douglas Stanley.
@@JussiPaul Oh wow, with whom did you study? That's quite adorable. As far as I know the overtones make the voice flying through the opera house. As it is documented, Pavarotti didn't had the biggest voice but you could hear him at the last seat. As Belcanto teachers teach the inhalare and the cupola technique with good appoggiare. I agree that for light tenor voices the falsetto is very close to their TA dominant sound but I can't agree that this works the same way for heavier voices. Actually, when you ask 10 professional operatic singers how they sing 10/10 say that they sing with a lowered larynx. Corelli already could sing before he went to Lauri Volpi. He just was there for some weeks in a year. I did read Frisell's books refering the different voices and Douglas Stanley's "Your Voice" whereas I even prefer more Stanley even though it is the functional way of singing. Since Garcia started to work with the laryngoscope he discovered the use of the lowered larynx. Most singers do not know how to use it properly.
@@thevoicepath A fully trained singer will have a lower larynx but this comes from years of developing the falsetto 'oo' sound. If you try to rush this by 'yawning' then you will inevitably constrict the throat. Depressing the tongue and hence the whole mechanism doesn't create more space between the thyroid cartilage and the hyoid bone it just means the constriction is lower. Only by opening up that space can one sing with complete freedom. Stanley is quite clear about this and the only way to open up this space is with the 'oo' falsetto. The only physical way to speed the process up is to insert fingers between hyoid and thyroid while one is singing. I do this with some students and it really helps! As for the point about 'heavier' voices needing a different technique I respectfully disagree. I've worked with a couple of heavier voices and the only difference is that their falsetto sound is huge. Why not utilise the natural hugeness of the falsetto instead of trying to push up 'weak' chest voice? Only a slimmed down chest voice coordinated with falsetto can produce the type of huge ringing tones that the old voices had. I have only ever heard one truly 'big' voice live and that was a Russian soprano. I won't mention the famous tenor's name but let's just say he was inaudible when up against a falsetto dominant voice of such magnitude! Believe me, chest voice doesn't cut it in the theatre!
I get this sound and feelng but it doesn't always work. Sometimes it sounds like a robot or fry and isn't a clear note. Whyyyyy
If it was easy then we`d all be able to sing like Pavarotti! Patience and persistence is required in this endeavour.
your tenor tone sounds powerful but i miss the squillo or metalic tone in your high notes
Thanks for your comment! Most people mistake constriction for squillo these days. My squillo is getting more powerful every day but one can't rush it otherwise it becomes constriction. The squillo grows gradually as the CT muscle gets strong enough to allow more TA tension to enter the coordination. One needs to be careful that the TA muscle doesn't dominate in an attempt to make a brighter sound. Most voices these days are either too bright or too dark. The perfect voice should be Chiaroscuro (bright and dark).
@@JussiPaul thats true. and thanks for your information