Far from confusing, you've given me the best technical description of the passagio that I've come across. Thank you. It's exact, informative, and a pathway to success.
This was the BEST discussion and working around this subject. You two were fantastic! I have heard so much stuff that did not come CLOSE to what you achieved. Thank you so much!
Joan Sutherland never practiced head before a performance. She always said that the middle is the key to the top. Recent reading suggests the primo passagio starts at B and is a "graphic equalizer" over 5+/- notes. The vowel modulation assists the move into head and prevent throat closure and damage. Also keeping the weight out of the voice as you say. I love the way you share how you mentally approach the tehnique. So much of singing is finding imagery that actually works for the individual. Thank you.
Oh thank you dear. I was telling a friend yesterday this: what we care about is that the culture changes to benefit SINGERS. However that can happen is what we want! This is the point of this project 🙌🏻
Omg this is amazing guys. I love this content. You put it into words perfectly. It makes so much sense. Whenever i sing higher I have unconciously tried to send it backward to make it easier.
Everyone likes a good closed e or oo vowel. They provide more back pressure which allows the cords to more easily transition from chest to head. For the same reason we heard here about the mix of the ng sound which helps streamline and facilitates the transition. Acoustics is madly complicated, but worth investigating.
I’m a veteran Broadway performer (six to be exact), a belter (necktie tenor is a better description) who has never found anything near resembling a presagio. I would go from a controlled scream to a gap, then my girlie voice. I stopped singing altogether for over twenty years. Now I’m taking lessons again trying to change my bad habits. I’ll never be an opera singer, but would like to sing correctly. I plan to watch more of your videos with the hope that something might just be that “ oh, damn, that’s what I’ve been doing wrong” revelation!
hi guys i am watching all your videos and you making a great job.i have a full lyric tenor voice and i will start next month audition and i have found very usefull your videos..you seem very honest and dont afraid to tell the truth about many topics that most of the singers afraid to tell.i exersice different my passagio but i do the same with vowel modification and mouth opening. i agree almost to everything! especially tenors we have big issues to balance this area.could i send you a video of me doing some exersise or singing to get an honest opinion?i am greek so many warm greetings from greece!!
Oh wow that’s so cool!! We’re THRILLED our work is helping you!! Feel free to send Norman a video on Instagram if you’d like help from another tenor! (His name is Norman Reinhardt) Good luck for your auditions!!!!!😊
@@LivingOpera sadly i dont have instagrma but maybe its time to do an account!!thx a lot to both of you and i am exited to see the video for high notes! γεια σας!
Hey Guys What a refreshing take on Singing technique and so spot on - I keep forgetting about how to get into the Head voice /throat opening thing (which you have just done on a separate video ) - so great to get that instruction I had it naturally and then lost it!!!! So many years lost when I could have been singing - this is a very valuable resource for young singers I hope a lot of them find it amidst the rubbish that is out there!!!! . SO Who were your teachers who informed your technical progress? And just one other question when the head voice comes in it tends to be a backward thing ( ie inhalation feeling ) how do you mix the chest into it ? is it a matter of graduation of front and back or the more the head develops the easier the chest comes into it? Keep up the good work you guys !! ( i'm actually a Tenor Angelique is a Musical/Opera I wrote!!)
Thank you for your very informative video. I was wondering if you when you turn the voice into the head voice, is it always on the same note, like f#, or might it be f somedays, or perhaps G? I know that you mention it varying from person to person, but could it vary day to day, or maybe even on different vowels? Thanks
Good video. I'm studying now with a teacher from Rome. He says to turn the voice from the beginning, to not sound like a pop singer and when going higher to keep the voice turned with space inside, but he shows the direction forward and not back.... When I hear caruso, lanza and more great singers, I can hear that the sound is remaining turned and with resonance.. And not Backward resonance. What do you think?
i rly get confusion with my PASSAGION i feel some days i can hit high b4 high c5 quity easily and i feel other days i cant find the passagio and my voice is not there wtf i am doing wrong i suspect some times i push to much weight and other days i don to push alot weight and my voice stay more natural srly i get so mad with this i dont know why everyday i feel different :P
I'm listening and I thinking how the ..... does he do that. I am a barritone and I haven't sing in years now I can't get passed C4 with out squeacking or getting a very sharp edge to the spund and most probably I'm pushing a bit as well. (and I am in my fifties) maybe I am just too old to sing.
When talking about this topic 99% of the people only think about pure tenore lirico and pure soprano lirico. Passaggi vocali will vary immensely based on your vocal instrument tho. A high Tenore Contraltino will have passagi on F4 and Bb4 A pure Tenore Lirico on D4 and G4. A baritonal dramatic Heldentenor on C4 and F4, same for the completely different voices that are both the baryton martin and the baritenore/tenore-di-mezzo-carattere/taille. A bass-baritone and a basso cantante on A3 and D4. A low oktavist basso profondo will have the passaggi on F3 and Bb3, one octave lower than a tenore contraltino...
I wanted to add this note since it's all too common that people will talk about "The F# MUST be done this way or else the other notes will never be sung properly!". Yeah. F#. Absolutely. F Sharp FOR WHAT VOICE? I notice the same problem when most people, even very cultured people, start talking about the infamous "High C" Man... a High C is different from voice to voice. HighC what? "High C MUST BE DONE WITH YOUR MOUTH THIS WAY, YOUR THROAT THIS OTHER WAY AND YOUR VOWEL READJUSTED THIS OTHER WAY AGAIN!!!" Hm? Come again? High C FOR WHO, FOR WHAT SINGER? Because the High C of a Tenore Contraltino starting his High Notes on High Bb will be completely different in self-percieved feeling and technical approach than the High C of some extremely low and baritonal Heldentenor who starts his High Notes on E4 like a baritone or even on Eb4 (like a heavier baritone voice, like Lauritz Melchior or Ramon Vinay). And even a Bass usually have a High C, at least while vocalising at home...
If you use your passagio and no one can tell it's there, does it really exist? Yes, but I do all I can to keep it a secret. I practice with that in mind.
Sir I am a beginner learning music for 1 yr is passagio is any note depends on person after mastering that note your voice will able to do high notes easily and can it be d4 for me it seems like at this point I started feeling strained pls reply
Hi Soula and Norm! I came across your channel a few weeks ago and have really enjoyed watching your videos. Very informative and interesting. I'm having trouble singing on closed vowels through my secondo passaggio. I can feel where the sound needs to go on vowels such as /a/ but I'm struggling to find the vowel modification required to sing /i/ and to an extent /u/. I can feel the "flip" with /a/ but I'm just not sure what to do on /i/. It feels like everything closes down on that vowel, which seems the opposite of what you describe in this video when you mention /i/ having a low laryngeal position. I'm a Bass-baritone and I reach my secondo passaggio around D#4/E4. Do you have any tips on what I could try to find the correct placement? Thanks! James
Oooohhhh we feel ya. Honestly? Past the passaggio we actually run every vowel through a dark AW vowel slot (like in the word "how"), regardless of how closed it is. Try that and tell us how it works!!
Thanks for the reply guys! I've been doing some experimenting (and reading) since I posted this and I've found that an "uh" vowel works for back vowels, and elongating the tube with the lips and thinking a French /y/ vowels helps with /i/. Kind of hard to explain with demonstrating.
![[Live สด] การออกรางวัลสลากกินแบ่งรัฐบาล งวดวันที่ 16 ธันวาคม 2567](http://i.ytimg.com/vi/dNTiBBthKgQ/mqdefault.jpg)
Just finding this today in a random search! I LOVE it! I'll be doing some "archive diving" for more great bits. THANK YOU!
You should make a podcast talking about all the topics! Super useful for performance students
That's a great idea! We've had a couple requests for that now...guess we better get to work!
Far from confusing, you've given me the best technical description of the passagio that I've come across. Thank you. It's exact, informative, and a pathway to success.
You are just amazing 🤩 thanks for everything!
This was the BEST discussion and working around this subject. You two were fantastic! I have heard so much stuff that did not come CLOSE to what you achieved. Thank you so much!
Joan Sutherland never practiced head before a performance. She always said that the middle is the key to the top. Recent reading suggests the primo passagio starts at B and is a "graphic equalizer" over 5+/- notes. The vowel modulation assists the move into head and prevent throat closure and damage. Also keeping the weight out of the voice as you say. I love the way you share how you mentally approach the tehnique. So much of singing is finding imagery that actually works for the individual. Thank you.
13:28 just for a little more accuracy: it’s a G sharp, because the harmony here is B Major, and you can’t have an A flat there 🥲
and yes its never forward very well said!!its a very hard topic indeed! its always a pleasure to see you guys! very positiv vibes always
So hard!!!! Ahhhhh!!! We had to film it 3 TIMES before we felt like it was okay to post 🤪🤪🤪🤪
@@LivingOpera you are both very honest ,open and warm people , very important !
Oh thank you dear. I was telling a friend yesterday this: what we care about is that the culture changes to benefit SINGERS. However that can happen is what we want! This is the point of this project 🙌🏻
Grazie mille
Omg this is amazing guys. I love this content. You put it into words perfectly. It makes so much sense. Whenever i sing higher I have unconciously tried to send it backward to make it easier.
Thank you so much for sharing these videos! You’re amazing!
So valuable when you guys can demo.and be to the point!
This is so great you guys, love it.
Aw, you're welcome!!!!!!
Everyone likes a good closed e or oo vowel. They provide more back pressure which allows the cords to more easily transition from chest to head. For the same reason we heard here about the mix of the ng sound which helps streamline and facilitates the transition. Acoustics is madly complicated, but worth investigating.
Interesting topic 👍👏👏👏
I’m a veteran Broadway performer (six to be exact), a belter (necktie tenor is a better description) who has never found anything near resembling a presagio. I would go from a controlled scream to a gap, then my girlie voice. I stopped singing altogether for over twenty years. Now I’m taking lessons again trying to change my bad habits. I’ll never be an opera singer, but would like to sing correctly. I plan to watch more of your videos with the hope that something might just be that “ oh, damn, that’s what I’ve been doing wrong” revelation!
Love this! So helpful!
So glad!
My throat gets itchy causing me to cough when doing passaggio and i can't sustain it. how will I resolve this problem?
Great stuff.
Thanks so much! If there’s something you’d like us to cover let us know!!
hi guys i am watching all your videos and you making a great job.i have a full lyric tenor voice and i will start next month audition and i have found very usefull your videos..you seem very honest and dont afraid to tell the truth about many topics that most of the singers afraid to tell.i exersice different my passagio but i do the same with vowel modification and mouth opening. i agree almost to everything! especially tenors we have big issues to balance this area.could i send you a video of me doing some exersise or singing to get an honest opinion?i am greek so many warm greetings from greece!!
Oh wow that’s so cool!! We’re THRILLED our work is helping you!! Feel free to send Norman a video on Instagram if you’d like help from another tenor! (His name is Norman Reinhardt) Good luck for your auditions!!!!!😊
@@LivingOpera sadly i dont have instagrma but maybe its time to do an account!!thx a lot to both of you and i am exited to see the video for high notes! γεια σας!
opera singer ah okay!! Do you have some videos here on TH-cam?? Gia sas!!! 🇬🇷💕
not yet but i bought a video recorder to do some soon and i will upload it!
Okay great!! Let us know when it’s up and we will be happy to listen!!!!😊
Hey Guys What a refreshing take on Singing technique and so spot on - I keep forgetting about how to get into the Head voice /throat opening thing (which you have just done on a separate video ) - so great to get that instruction I had it naturally and then lost it!!!! So many years lost when I could have been singing - this is a very valuable resource for young singers I hope a lot of them find it amidst the rubbish that is out there!!!! . SO Who were your teachers who informed your technical progress? And just one other question when the head voice comes in it tends to be a backward thing ( ie inhalation feeling ) how do you mix the chest into it ? is it a matter of graduation of front and back or the more the head develops the easier the chest comes into it? Keep up the good work you guys !! ( i'm actually a Tenor Angelique is a Musical/Opera I wrote!!)
Oh my god, this is super useful.
You were in our street! LOL! 🙃
Thank you for your very informative video. I was wondering if you when you turn the voice into the head voice, is it always on the same note, like f#, or might it be f somedays, or perhaps G? I know that you mention it varying from person to person, but could it vary day to day, or maybe even on different vowels? Thanks
Очень классно🤗🙏
Good video. I'm studying now with a teacher from Rome. He says to turn the voice from the beginning, to not sound like a pop singer and when going higher to keep the voice turned with space inside, but he shows the direction forward and not back.... When I hear caruso, lanza and more great singers, I can hear that the sound is remaining turned and with resonance.. And not Backward resonance.
What do you think?
i rly get confusion with my PASSAGION i feel some days i can hit high b4 high c5 quity easily
and i feel other days i cant find the passagio and my voice is not there wtf i am doing wrong i suspect some times i push to much weight and other days i don to push alot weight and my voice stay more natural srly i get so mad with this i dont know why everyday i feel different :P
Subbed!
I'm listening and I thinking how the ..... does he do that. I am a barritone and I haven't sing in years now I can't get passed C4 with out squeacking or getting a very sharp edge to the spund and most probably I'm pushing a bit as well. (and I am in my fifties) maybe I am just too old to sing.
When talking about this topic 99% of the people only think about pure tenore lirico and pure soprano lirico.
Passaggi vocali will vary immensely based on your vocal instrument tho.
A high Tenore Contraltino will have passagi on F4 and Bb4
A pure Tenore Lirico on D4 and G4.
A baritonal dramatic Heldentenor on C4 and F4, same for the completely different voices that are both the baryton martin and the baritenore/tenore-di-mezzo-carattere/taille.
A bass-baritone and a basso cantante on A3 and D4.
A low oktavist basso profondo will have the passaggi on F3 and Bb3, one octave lower than a tenore contraltino...
I wanted to add this note since it's all too common that people will talk about "The F# MUST be done this way or else the other notes will never be sung properly!". Yeah. F#. Absolutely. F Sharp FOR WHAT VOICE?
I notice the same problem when most people, even very cultured people, start talking about the infamous "High C"
Man... a High C is different from voice to voice.
HighC what?
"High C MUST BE DONE WITH YOUR MOUTH THIS WAY, YOUR THROAT THIS OTHER WAY AND YOUR VOWEL READJUSTED THIS OTHER WAY AGAIN!!!"
Hm?
Come again?
High C FOR WHO, FOR WHAT SINGER?
Because the High C of a Tenore Contraltino starting his High Notes on High Bb will be completely different in self-percieved feeling and technical approach than the High C of some extremely low and baritonal Heldentenor who starts his High Notes on E4 like a baritone or even on Eb4 (like a heavier baritone voice, like Lauritz Melchior or Ramon Vinay).
And even a Bass usually have a High C, at least while vocalising at home...
Мой друг тенор альтино E3 C7
That's extremely impressive!
Is the CounterHigh C7 reached in falsetto, M2/M1 mix or is it flageolet?
@@edraith да
If you use your passagio and no one can tell it's there, does it really exist? Yes, but I do all I can to keep it a secret. I practice with that in mind.
Sir I am a beginner learning music for 1 yr is passagio is any note depends on person after mastering that note your voice will able to do high notes easily and can it be d4 for me it seems like at this point I started feeling strained pls reply
So what would be the difference between the passagio and the mixed voice. Or is it a difference with the classical and contemporary music?
Passaggio and mixed voice are talking about the same thing: the lengthening of the cords along with thyroaretenoid involvement.
I'm the opposite aha I love 'ah' 😂
Hi Soula and Norm!
I came across your channel a few weeks ago and have really enjoyed watching your videos. Very informative and interesting.
I'm having trouble singing on closed vowels through my secondo passaggio. I can feel where the sound needs to go on vowels such as /a/ but I'm struggling to find the vowel modification required to sing /i/ and to an extent /u/. I can feel the "flip" with /a/ but I'm just not sure what to do on /i/. It feels like everything closes down on that vowel, which seems the opposite of what you describe in this video when you mention /i/ having a low laryngeal position.
I'm a Bass-baritone and I reach my secondo passaggio around D#4/E4.
Do you have any tips on what I could try to find the correct placement?
Thanks!
James
Oooohhhh we feel ya. Honestly? Past the passaggio we actually run every vowel through a dark AW vowel slot (like in the word "how"), regardless of how closed it is. Try that and tell us how it works!!
Thanks for the reply guys! I've been doing some experimenting (and reading) since I posted this and I've found that an "uh" vowel works for back vowels, and elongating the tube with the lips and thinking a French /y/ vowels helps with /i/. Kind of hard to explain with demonstrating.
@@jamesmcparland6400 that's awesome!!!!! Great!!
Exc!
Thanks!
Sorry to say this, but after watching your Instagram reels I’m always waiting for a joke from you. You have a comedic look à la Lucille Ball.
Norman, love you, but you def married Up! Haha she is fantastic! :)
Hahah well I'm not going to argue - I did good!
This should be titled - "How not to present a TH-cam video"
Crapp!
This is not real passaggio, this is fake opera singing sound, beacuse she didnt sing forward and she didnt use chest voice