An open throat, low larynx, opening pharyngal muscles and using appogio to push the air out. this combination has given me an easy B and even C and last year I thought I was a baritone. Took me a while but I am seeing some ridicules results. I would like to come and get live lessons from you in the near future if you are available. Just wanted to say thank you for being my singing coach even though we never met or talked. Keep the old school singing rocking brother.
Thank you so much for the kind words! I’m thrilled to hear that you’re getting such amazing results with my videos. It’s incredible how the right approach can unlock those top notes and reveal the full potential of your voice. I’d be happy to hear you in the future feel free to reach out when you’re ready! Keep up the great work, and let’s keep The Old School of Singing alive!
I have a vocal range from A1 to Eb6. When i sing in my lower register, i can keep a low larynx up to D4 then it starts to go up. But when i switch to singing as a counter tenor, i can maintain the lower larynx up to E5 then i lose control of it. Lol. So my question is, is it wrong for my larynx to go up when hitting these high notes? Cause i discovered that I’m only able to control it for my low notes. I identify as a bass/counter tenor.
Maintaining a low larynx throughout the range is a cornerstone of the method I teach, particularly to reinforce resonance and power. However, when ascending into higher registers, it’s common for the larynx to rise slightly, especially in countertenor repertoire. The key is not to focus on forcing it down but rather ensuring that the throat remains open (Gola Aperta) and that you’re relying on proper breath support. Your ability to keep the larynx low up to D4 in your lower register shows good control, but as you move into higher notes, especially beyond E5, the sensation changes, and it’s natural to feel some shift. The important thing is that the sound remains free and resonant, without any pushing or strain. You should always aim for a balance where the larynx is low, but the resonance remains full and forward without tension. This technique, blending the teachings of Melocchi, Garcia, and Campogalliani, will allow you to master both your bass and countertenor ranges with ease and without compromising the integrity of your voice.
if I had to guess, yawning feel a little compressive on the larynx, as opposed to surprise which feels more free. Though this is just my personal observation from a few minutes of comparing the two. We'll see what the maestro says!
Surprise lends to a more practical application when actually singing as you have to take in breathes faster and don't really have time to actually yawn.
Hello! I would like to ask how do you do vibrato? From what I have been taught and what I can find online, vibrato is like a vibration in the vocal chords. The larynx should not have anything to do with vibrato. It should come naturally when you have good breath support and proper technique. However, when I do vibrato or think of doing vibrato when I sing, my larynx moves up and down slightly, like oscillating. I think this is incorrect technique, as from what I can see in your videos and from others it does not move, so I would like to ask you how you do vibrato without moving the larynx. Thank you very much!
Great question! Vibrato should indeed come naturally with proper breath support and technique, but it’s not about forcing or manipulating the larynx. Vibrato is a result of a natural oscillation in the tension of the vocal cords, which happens when the breath is steady and the voice is well-balanced. If your larynx is moving up and down, it could mean you're overthinking or forcing the sound. Focus on maintaining a relaxed, steady airflow and let the vibrato develop from the even tension of your cords, without any intentional movement of the larynx. It takes time, but with practice, it will feel more effortless!
I've thought of a system to measure how well you're doing in amplifying your voice. I use a soundmeter and try to produce the loudest sound with the minimal effort and best possible technic. Do you think it's ok to do that ?
Using a sound meter can be an interesting way to measure volume, but it's important to remember that true vocal amplification comes from resonance, not just loudness. While it's good to aim for minimal effort with maximum efficiency, the key is to focus on producing rich harmonics and maintaining an open throat and low larynx. Technique should prioritize resonance and vocal health over just achieving loudness. A sound meter can be useful, but make sure it's not the only measure of success.
how much training does it usually take to grow the upper tenor notes after the first passagio to become full voiced and powerful? Currently mine sounds like a very very very loud ping but it doesnt have that strong bottom.
Great question! Developing the full, powerful sound after the first passaggio can take some time, depending on your technique and consistency. The 'ping' you're describing is actually a good sign of resonance, but to add that strong bottom, you need to ensure the connection to your chest voice remains solid as you ascend. It’s all about balancing the head and chest resonance without losing the depth. With the right exercises and focus, it can take several months to a year or more to really solidify that sound. Keep at it, and be patient with the process!
An open throat, low larynx, opening pharyngal muscles and using appogio to push the air out. this combination has given me an easy B and even C and last year I thought I was a baritone. Took me a while but I am seeing some ridicules results. I would like to come and get live lessons from you in the near future if you are available. Just wanted to say thank you for being my singing coach even though we never met or talked. Keep the old school singing rocking brother.
Thank you so much for the kind words! I’m thrilled to hear that you’re getting such amazing results with my videos. It’s incredible how the right approach can unlock those top notes and reveal the full potential of your voice. I’d be happy to hear you in the future feel free to reach out when you’re ready! Keep up the great work, and let’s keep The Old School of Singing alive!
Excellent
Thank you so much 🎶
I have a vocal range from A1 to Eb6. When i sing in my lower register, i can keep a low larynx up to D4 then it starts to go up. But when i switch to singing as a counter tenor, i can maintain the lower larynx up to E5 then i lose control of it. Lol. So my question is, is it wrong for my larynx to go up when hitting these high notes? Cause i discovered that I’m only able to control it for my low notes. I identify as a bass/counter tenor.
Maintaining a low larynx throughout the range is a cornerstone of the method I teach, particularly to reinforce resonance and power. However, when ascending into higher registers, it’s common for the larynx to rise slightly, especially in countertenor repertoire. The key is not to focus on forcing it down but rather ensuring that the throat remains open (Gola Aperta) and that you’re relying on proper breath support.
Your ability to keep the larynx low up to D4 in your lower register shows good control, but as you move into higher notes, especially beyond E5, the sensation changes, and it’s natural to feel some shift. The important thing is that the sound remains free and resonant, without any pushing or strain. You should always aim for a balance where the larynx is low, but the resonance remains full and forward without tension. This technique, blending the teachings of Melocchi, Garcia, and Campogalliani, will allow you to master both your bass and countertenor ranges with ease and without compromising the integrity of your voice.
@@giancarlomonsalve Thanks for your reply! I’ll improve on that.❤️
Thank you, maestro😊
My pleasure 😊
That would be nice if you make a special video on why is "surprise" better than "yawn"😃
if I had to guess, yawning feel a little compressive on the larynx, as opposed to surprise which feels more free. Though this is just my personal observation from a few minutes of comparing the two. We'll see what the maestro says!
Done :)
ruclips.net/video/6F9jpFuVEuk/видео.html
It is all here :)
ruclips.net/video/6F9jpFuVEuk/видео.html
@@giancarlomonsalve cool👍
Surprise lends to a more practical application when actually singing as you have to take in breathes faster and don't really have time to actually yawn.
What are your thoughts on singing in musical theatre, specifically the technique used in that kind of singing?
Hello! I would like to ask how do you do vibrato? From what I have been taught and what I can find online, vibrato is like a vibration in the vocal chords. The larynx should not have anything to do with vibrato. It should come naturally when you have good breath support and proper technique. However, when I do vibrato or think of doing vibrato when I sing, my larynx moves up and down slightly, like oscillating. I think this is incorrect technique, as from what I can see in your videos and from others it does not move, so I would like to ask you how you do vibrato without moving the larynx. Thank you very much!
Great question! Vibrato should indeed come naturally with proper breath support and technique, but it’s not about forcing or manipulating the larynx. Vibrato is a result of a natural oscillation in the tension of the vocal cords, which happens when the breath is steady and the voice is well-balanced. If your larynx is moving up and down, it could mean you're overthinking or forcing the sound. Focus on maintaining a relaxed, steady airflow and let the vibrato develop from the even tension of your cords, without any intentional movement of the larynx. It takes time, but with practice, it will feel more effortless!
@@giancarlomonsalve Hello, again! Thank you very much for answering my question! I will use your advice to improve my singing
Make a video to see this opening of the pharynx and larynx plese.
Here :)
ruclips.net/video/6F9jpFuVEuk/видео.html
I've thought of a system to measure how well you're doing in amplifying your voice. I use a soundmeter and try to produce the loudest sound with the minimal effort and best possible technic. Do you think it's ok to do that ?
Using a sound meter can be an interesting way to measure volume, but it's important to remember that true vocal amplification comes from resonance, not just loudness. While it's good to aim for minimal effort with maximum efficiency, the key is to focus on producing rich harmonics and maintaining an open throat and low larynx. Technique should prioritize resonance and vocal health over just achieving loudness. A sound meter can be useful, but make sure it's not the only measure of success.
how much training does it usually take to grow the upper tenor notes after the first passagio to become full voiced and powerful? Currently mine sounds like a very very very loud ping but it doesnt have that strong bottom.
Great question! Developing the full, powerful sound after the first passaggio can take some time, depending on your technique and consistency. The 'ping' you're describing is actually a good sign of resonance, but to add that strong bottom, you need to ensure the connection to your chest voice remains solid as you ascend. It’s all about balancing the head and chest resonance without losing the depth. With the right exercises and focus, it can take several months to a year or more to really solidify that sound. Keep at it, and be patient with the process!
Maestro?
Yes? :)
First.
👏👏👏👏