Thank you so much for sharing these demonstrations and speaking at such length about the differences in registration and tessitura here! It is so incredibly difficult to find this demonstrated anywhere, even online, and as someone with very limited resources it's absolutely invaluable to me to be able to hear the way your own voice navigates those differences, and to have your personal reflections on the way that feels. As well as the common pitfalls for these lower and under-described voices. I'm not nearly as trained, skilled, or experienced as you are, but your voice behaves very similarly to my own and it's so much easier for me to learn from that than it is to simply try to transpose a tenor or baritone's advice down into my range and imagine it would be the same. It often doesn't really work that way in reality. I don't sing opera personally, I know very little about it because I've never had access to that world... so maybe it would be different in that scene, but it often feels like there's no room in music for me because of where my voice naturally sits. I have good range, but no matter what I do, I really cannot use that range in the same way baritones or tenors can, and trying to approach my voice in ways that work for those higher tessituras has consistently caused vocal problems for me. ...it's terrifying, especially when I know I have no ability to attempt more challenging vocals under experienced or knowledgable supervision. It's like fumbling around in the dark, in hopes that maybe I will stumble on what I need to be able to sing comfortably with freedom and strength before I destroy my voice trying things that don't help. Like gambling blind with high stakes. So to see and hear you sing so profoundly and confidently in these areas gives me some hope that I can also learn to navigate my voice in a healthy and sustainable way, if I can learn to really understand and support it properly. It's just incredible to see that it is possible to sing over a full, supported range with this voice, and without causing damage. It's also wonderful to see that it is not my fault I cannot sing the same way a baritone or tenor can... that it does not make me less.
Your Aria recommendations for beginners are actually quite the opposite of how I learned. I started singing with 17 and at 18 the first opera piece my old teacher gave me was O Isis und Osiris, since my E2 was already there. Recently my new teacher did Deh vieni alla finestra with me for our first lesson together. I'm 22 now and I know for a fact I couldn't have sang that piece a year ago! It's pretty high for me. Doable, sure. I hit B flat 4 in lessons, but it's exhausting and somewhat uncomfortable to sing 4th octave or close to it for a long time. This video is probably not meant for me, just like the role of Don Giovanni.
Maestro Thanks for demonstrating the tilt by using your hand gesture. What was key for me in your demonstration is that the pharynx is tilted. What a difference it made for me. I am considered a Verdi baritone and what I noticed when I practiced the tilt with my mind focused on the pharynx that was I came down the scale say goi from Bflat thru the passagio to F or above on a 5 note scale is that I did not drop the voice when I came down back to B flat. I have had trouble all my life dropping out of position when going down the scale. This makes it more difficult to reattack since I am out of position and my resonance chamber is distorted. But when I thought of tilting the pharynx my sound going back down was secure did not drop out. This approach makes me feel the mask sensation like never before. One other point. I have studied Leo Nucci's way of producing his sound. The man is marvelous. He can sing Rigoletto in his 70's. What is quite obvious if you watch his face is that he seems to tilt the larynx and also draws down his upper lip. What is your opinion of my observation. I still sing as I approach 80. Thanks Enrico Adriano
Thank you for responding to my inquiry. I saw a video of Nucci at home singing at the piano Il balen del suo sorriso from Trovatore which is a very difficult aria for the baritone. He was in his 70's when he sang this like water of a duck's back. At the end of the cadenza, he used his hand and curved it downward. Am I correct that this s what you were referring to as the tilting of the pharynx? The tilting of the larynx reminds me of what a shepherd's staff looks like. At the top it has a curve pointing downwards. One other point that I need clarification on. . Before I saw your video, which was yesterday, I read about the tilting of the larynx and was confused about it. But when I saw your video, you did not use the term tilting the larynx but the pharynx. Why the distinction? This may cause some confusion among singers.
From what I recall, both are terms for the same effect, except that laryngeal tilt implies just the larynx curving, and pharyngeal tilt implies a change in dimension of the throat
@@gillianomotoso328 thank you for responding. So in regard to the pharynx, this change in the dimension of the throat would it be like a stretching or pulling in the nasopharynx that assists in the covering of the tone?.
@@gillianomotoso328 No-please describe or let me know where I can read about it. I assume that when you tilt the naso pharynx would occur near the passagio which for me would be D, D sharp since I am a Verdi baritone.
@@EnricoAdriano voce faringea (pharyngeal voice) is basically the variant of modal voice that occurs when chest voice enters laryngeal cry and lifts upward into twang. The larynx lifts and thins, but the oronasopharynx adjusts in shape alongside this and as the larynx lifts, twang is engaged, which can be tempered or heightened by shaping the pharynx through its muscles.
Passagios are not "carved in stone" so to speak. They are there to recognize and help the singer integrate all registers smoothly with the help of an able teacher. Over-covering can be harmful, as the voice becomes artificial and fabricated. Singers will use this to falsely darken the voice.
Thank you so much for sharing these demonstrations and speaking at such length about the differences in registration and tessitura here! It is so incredibly difficult to find this demonstrated anywhere, even online, and as someone with very limited resources it's absolutely invaluable to me to be able to hear the way your own voice navigates those differences, and to have your personal reflections on the way that feels. As well as the common pitfalls for these lower and under-described voices. I'm not nearly as trained, skilled, or experienced as you are, but your voice behaves very similarly to my own and it's so much easier for me to learn from that than it is to simply try to transpose a tenor or baritone's advice down into my range and imagine it would be the same. It often doesn't really work that way in reality. I don't sing opera personally, I know very little about it because I've never had access to that world... so maybe it would be different in that scene, but it often feels like there's no room in music for me because of where my voice naturally sits. I have good range, but no matter what I do, I really cannot use that range in the same way baritones or tenors can, and trying to approach my voice in ways that work for those higher tessituras has consistently caused vocal problems for me. ...it's terrifying, especially when I know I have no ability to attempt more challenging vocals under experienced or knowledgable supervision. It's like fumbling around in the dark, in hopes that maybe I will stumble on what I need to be able to sing comfortably with freedom and strength before I destroy my voice trying things that don't help. Like gambling blind with high stakes.
So to see and hear you sing so profoundly and confidently in these areas gives me some hope that I can also learn to navigate my voice in a healthy and sustainable way, if I can learn to really understand and support it properly. It's just incredible to see that it is possible to sing over a full, supported range with this voice, and without causing damage. It's also wonderful to see that it is not my fault I cannot sing the same way a baritone or tenor can... that it does not make me less.
Your Aria recommendations for beginners are actually quite the opposite of how I learned. I started singing with 17 and at 18 the first opera piece my old teacher gave me was O Isis und Osiris, since my E2 was already there. Recently my new teacher did Deh vieni alla finestra with me for our first lesson together. I'm 22 now and I know for a fact I couldn't have sang that piece a year ago! It's pretty high for me. Doable, sure. I hit B flat 4 in lessons, but it's exhausting and somewhat uncomfortable to sing 4th octave or close to it for a long time. This video is probably not meant for me, just like the role of Don Giovanni.
Maestro
Thanks for demonstrating the tilt by using your hand gesture. What was key for me in your demonstration is that the pharynx is tilted. What a difference it made for me. I am considered a Verdi baritone and what I noticed when I practiced the tilt with my mind focused on the pharynx that was I came down the scale say goi from Bflat thru the passagio to F or above on a 5 note scale is that I did not drop the voice when I came down back to B flat. I have had trouble all my life dropping out of position when going down the scale. This makes it more difficult to reattack since I am out of position and my resonance chamber is distorted. But when I thought of tilting the pharynx my sound going back down was secure did not drop out. This approach makes me feel the mask sensation like never before. One other point. I have studied Leo Nucci's way of producing his sound. The man is marvelous. He can sing Rigoletto in his 70's. What is quite obvious if you watch his face is that he seems to tilt the larynx and also draws down his upper lip. What is your opinion of my observation. I still sing as I approach 80. Thanks Enrico Adriano
I'm glad I could help. Leo Nucci is indeed an incredible singer!
Thank you for responding to my inquiry. I saw a video of Nucci at home singing at the piano Il balen del suo sorriso from Trovatore which is a very difficult aria for the baritone. He was in his 70's when he sang this like water of a duck's back. At the end of the cadenza, he used his hand and curved it downward. Am I correct that this s what you were referring to as the tilting of the pharynx? The tilting of the larynx reminds me of what a shepherd's staff looks like. At the top it has a curve pointing downwards. One other point that I need clarification on. . Before I saw your video, which was yesterday, I read about the tilting of the larynx and was confused about it. But when I saw your video, you did not use the term tilting the larynx but the pharynx. Why the distinction? This may cause some confusion among singers.
From what I recall, both are terms for the same effect, except that laryngeal tilt implies just the larynx curving, and pharyngeal tilt implies a change in dimension of the throat
@@gillianomotoso328 thank you for responding. So in regard to the pharynx, this change in the dimension of the throat would it be like a stretching or pulling in the nasopharynx that assists in the covering of the tone?.
@@EnricoAdriano pretty much. Are you familiar with voce faringea?
@@gillianomotoso328 No-please describe or let me know where I can read about it. I assume that when you tilt the naso pharynx would occur near the passagio which for me would be D, D sharp since I am a Verdi baritone.
@@EnricoAdriano voce faringea (pharyngeal voice) is basically the variant of modal voice that occurs when chest voice enters laryngeal cry and lifts upward into twang. The larynx lifts and thins, but the oronasopharynx adjusts in shape alongside this and as the larynx lifts, twang is engaged, which can be tempered or heightened by shaping the pharynx through its muscles.
But basses cover at C# don't they? Most baritones don't cover until Eb or E according to my knowledge. If you have other experiences let me know.
Passagios are not "carved in stone" so to speak. They are there to recognize and help the singer integrate all registers smoothly with the help of an able teacher. Over-covering can be harmful, as the voice becomes artificial and fabricated. Singers will use this to falsely darken the voice.
@@raymondmodesti Okay