This is exactly how I am able to transition into my head voice so smoothly as a countertenor. If I don't create that pharyngeal space, I especially notice it if I haven't sung with the classical rep in quite a while, it takes a bit to get used to all that space. I call it hitting the ceiling if I am having trouble, because it literally sounds closed off and notes don't come.
HELLO MR MODESTI, WONDERFUL PRESENTATION AND DEMONSTRATION ON THE PHARYNGEAL VOICE. I,VE NEVER HEARD A BASSO SING IT LET ALONE UP TO HIGH C5 !!! I'M SURE YOUR AN INSPIRATION TO BASSES AND BARITONES! I'M A LIGHT AND HIGH BARITONE AND MORE OF A POP AND B'WAY MUSICAL SINGER BUT WAS ALWAYS FASCINATED BY THE ABILITY OF MALE SINGERS ABLE TO SING ABOVE THE F#4 PASSAGIO. I'M 87 BUT I CAN STILL SING SMOOTHLY UP HIGH F5 WITH PHARYNGEAL/FALSETTO MIX, AS YOU CAN SEE ON MY TUTORIAL. GOD BLESS YOU AND STAY HEALTHY AND SAFE, MR. SILVA
When a slight switch is turned on, I lose my voice. I have even suffered from aphasia. It might be stress. But I've been learning to sing. I feel most free when I'm learning to sing. However, I can't really feel that the vocal cords and diaphragm work together. Then the teacher told me, ``I can't do it anymore!'' This song is over! That's what she says. Still, I don't feel like quitting and I'm trying my best. I've been depressed many times, but I don't feel like quitting. I'm sure it's painful.
Plenty of bad teachers out there, don't let it discourage you. Virtual sessions with a voice therapist could be a good option. Just got to keep trying to find the right teacher for you. Some could be great for one type of student but bad for another. One specializing in therapy might be a better fit. Don't give up. :)
Thank you for this! These videos are always so educational. I had no idea the historical use of pharyngeal voice, and that's fascinating to me. Do you find the loss in volume over your passaggio when transitioning to the pharyngeal voice causes issues in live performance? Or do you typically navigate the material in a way that minimizes spending time in your passaggio when you know the style of music calls for using the pharyngeal voice?
@@raymondmodesti That makes sense. When it was used historically in opera, do you think the instrumentation was adjusted to accomodate it? Or was it used for contrast? It's very interesting to learn about historical trends in the way the voice was used. We see trends so often in every genre of contemporary, but I hadn't considered that classical would also have had such pronounced trends over the years! I always assumed that pharyngeal voice was used primarily by countertenors.
Not many, even professional singers, can say much about that passaggio. It's however like many men(me too) have it on E above middle C? And this a confusing point, since one finds that baryton Martin, Heldentenor, lyric baritone and perhaps many "in between" voices are there.
Depends how you classify voices. If you follow Richard Miller's classification by passaggio, then E would be a lyric baritone, F a dramatic tenor, f# spinto tenor and so on. The baritone martin is not part of the Italian classification, same for the Heldentenor, they're more roles than anything like the french baroque haute-contre.
@@athtarasterios9695 In the Mozart Requiem in the Lacrimose part, there is a choral tenor line: Huic ergo parce Deus with all high F's in a row, in a very subtle piano. As fake tenor, I struggle with that. I can do it in a too quiet falsetto or in a very supported and so fatiguing, still slightly too loud normal voice. Both options are not ideal and it's like the real tenors can do this better. So this line is perhaps like a diagnostic instrument to find out if one is really tenor. Nevertheless I don't give up and think with better head voice control, I will be able to do it perfect.
@@jean-pierredevent970 If your voice break consistently at E4 then you are more likely to be a high baritone. It's also possible that your passaggio is higher but you don't have the proper vowels. Once you've unlocked your head voice, an F4 shouldn't be a problem for a high baritone. A lyric baritone should be able to go up to a solid A4 with good training. It's not very common for them to be required to sing above a high G but it does happen.. Richard Miller gives an A2-A4 tessatura for a lyric baritone.
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Thanks Raymond!!! Very nice deep dive thus far
Very welcome
This is exactly how I am able to transition into my head voice so smoothly as a countertenor. If I don't create that pharyngeal space, I especially notice it if I haven't sung with the classical rep in quite a while, it takes a bit to get used to all that space. I call it hitting the ceiling if I am having trouble, because it literally sounds closed off and notes don't come.
HELLO MR MODESTI,
WONDERFUL PRESENTATION AND DEMONSTRATION ON THE PHARYNGEAL VOICE.
I,VE NEVER HEARD A BASSO SING IT LET ALONE UP TO HIGH C5 !!!
I'M SURE YOUR AN INSPIRATION TO BASSES AND BARITONES!
I'M A LIGHT AND HIGH BARITONE AND MORE OF A POP AND B'WAY MUSICAL SINGER BUT WAS ALWAYS FASCINATED BY THE ABILITY OF MALE SINGERS ABLE TO SING ABOVE THE F#4 PASSAGIO. I'M 87 BUT I CAN STILL SING SMOOTHLY UP HIGH F5 WITH PHARYNGEAL/FALSETTO MIX, AS YOU CAN SEE ON MY TUTORIAL.
GOD BLESS YOU AND STAY HEALTHY AND SAFE,
MR. SILVA
Thank you for showing up the process in your voice
My pleasure 😊
This lesson has helped me immensely, thank you so much
You're very welcome!
When a slight switch is turned on, I lose my voice. I have even suffered from aphasia. It might be stress. But I've been learning to sing. I feel most free when I'm learning to sing. However, I can't really feel that the vocal cords and diaphragm work together. Then the teacher told me, ``I can't do it anymore!'' This song is over! That's what she says. Still, I don't feel like quitting and I'm trying my best. I've been depressed many times, but I don't feel like quitting. I'm sure it's painful.
Plenty of bad teachers out there, don't let it discourage you. Virtual sessions with a voice therapist could be a good option. Just got to keep trying to find the right teacher for you. Some could be great for one type of student but bad for another. One specializing in therapy might be a better fit. Don't give up. :)
Thank you for this! These videos are always so educational. I had no idea the historical use of pharyngeal voice, and that's fascinating to me. Do you find the loss in volume over your passaggio when transitioning to the pharyngeal voice causes issues in live performance? Or do you typically navigate the material in a way that minimizes spending time in your passaggio when you know the style of music calls for using the pharyngeal voice?
I use the pharyngeal voice in the soft passages, and when needed.
Mostly in art songs.
@@raymondmodesti That makes sense. When it was used historically in opera, do you think the instrumentation was adjusted to accomodate it? Or was it used for contrast? It's very interesting to learn about historical trends in the way the voice was used. We see trends so often in every genre of contemporary, but I hadn't considered that classical would also have had such pronounced trends over the years! I always assumed that pharyngeal voice was used primarily by countertenors.
Not many, even professional singers, can say much about that passaggio. It's however like many men(me too) have it on E above middle C? And this a confusing point, since one finds that baryton Martin, Heldentenor, lyric baritone and perhaps many "in between" voices are there.
Depends how you classify voices. If you follow Richard Miller's classification by passaggio, then E would be a lyric baritone, F a dramatic tenor, f# spinto tenor and so on.
The baritone martin is not part of the Italian classification, same for the Heldentenor, they're more roles than anything like the french baroque haute-contre.
@@athtarasterios9695 In the Mozart Requiem in the Lacrimose part, there is a choral tenor line: Huic ergo parce Deus with all high F's in a row, in a very subtle piano. As fake tenor, I struggle with that. I can do it in a too quiet falsetto or in a very supported and so fatiguing, still slightly too loud normal voice. Both options are not ideal and it's like the real tenors can do this better. So this line is perhaps like a diagnostic instrument to find out if one is really tenor. Nevertheless I don't give up and think with better head voice control, I will be able to do it perfect.
@@jean-pierredevent970 If your voice break consistently at E4 then you are more likely to be a high baritone. It's also possible that your passaggio is higher but you don't have the proper vowels.
Once you've unlocked your head voice, an F4 shouldn't be a problem for a high baritone. A lyric baritone should be able to go up to a solid A4 with good training. It's not very common for them to be required to sing above a high G but it does happen.. Richard Miller gives an A2-A4 tessatura for a lyric baritone.
G E N I US . 😮