When we talk about integrating the head voice, it is often with the intention of improving range, and maintaining a fuller timbre throughout an expanded range, but there's not much said about the capacity of bass or bass-baritone voices to then use that expanded range to sing repertoire that is outside of their usual registration. Even if the head voice of a bass or bass-baritone can technically reach quite high pitches, no one seems to talk about using that capacity outside of warm ups and vocal exercises. Can you give any thoughts you may have on why that is? Is it possible for a bass-baritone to use a well integrated head voice and voix mixte to sustainably sing music written for tenors, for example? Is it avoided due to some inherent consequence, or is it just simply not possible to get useful volume and tonality for that repertoire out of even the most well-trained bass voice?
An interesting Question! There are exceptions such as Bari-tenors.... who have been able to extend the upper range and sustain that tessitura. It also depends on how young a voice is and if the passagio will allow the voice to sustain that tessitura.( Muscles tend to settle in a certain way and if the suppleness is gone from the voice with age, it is very difficult to sustain a higher range.) In most cases the voice will sound strained and cannot be supported to a full Tenorial sound. This is also of mistake many voice teachers make when they categorize a voice on range only! I can easily sing a high C, but I could never sustain the tessitura of a tenor repertoire. The exercises I demonstrate in the video clip(s) are meant to extend the existing voice range to a comfortable singing level and not Force the voice into the wrong category (Stimmfach). I hope this clarifies it a bit for you.
@@raymondmodesti Yes, thank you! Helpful as always, and I really appreciate your insights into the topic. I've had a few people say that I could become a tenor with enough practice, because my voice is quite bright for being so low and it's not a sound they associate with bass singing. However, I've often explained to them that same thing, that while I can hit these higher notes and sing within them having practiced carefully, it still never reaches a full tenorial sound in that register, and it's a more strained or intense quality than an actual tenor or even a high baritone would have at that same range. My stamina and natural advantage are always placed much lower in pitch, which is part of what allows me the flexibility to carry a bright timbre down so low without losing the fullness of the note... A tenor could not carry a full resonant quality down quite as low, even if they could technically sing the lower pitches.
"head voice first"......very true
So how do you strengthen the low notes that you already have? I know you can't extend lower range-wise (at least not much), but still.
Please see my latest video clip number 32
When we talk about integrating the head voice, it is often with the intention of improving range, and maintaining a fuller timbre throughout an expanded range, but there's not much said about the capacity of bass or bass-baritone voices to then use that expanded range to sing repertoire that is outside of their usual registration. Even if the head voice of a bass or bass-baritone can technically reach quite high pitches, no one seems to talk about using that capacity outside of warm ups and vocal exercises. Can you give any thoughts you may have on why that is? Is it possible for a bass-baritone to use a well integrated head voice and voix mixte to sustainably sing music written for tenors, for example? Is it avoided due to some inherent consequence, or is it just simply not possible to get useful volume and tonality for that repertoire out of even the most well-trained bass voice?
An interesting Question!
There are exceptions such as Bari-tenors.... who have been able to extend the upper range and sustain that tessitura. It also depends on how young a voice is and if the passagio will allow the voice to sustain that tessitura.( Muscles tend to settle in a certain way and if the suppleness is gone from the voice with age, it is very difficult to sustain a higher range.)
In most cases the voice will sound strained and cannot be supported to a full Tenorial sound.
This is also of mistake many voice teachers make when they categorize a voice on range only!
I can easily sing a high C, but I could never sustain the tessitura of a tenor repertoire.
The exercises I demonstrate in the video clip(s) are meant to extend the existing voice range to a comfortable singing level and not Force the voice into the wrong category (Stimmfach).
I hope this clarifies it a bit for you.
@@raymondmodesti Yes, thank you! Helpful as always, and I really appreciate your insights into the topic. I've had a few people say that I could become a tenor with enough practice, because my voice is quite bright for being so low and it's not a sound they associate with bass singing. However, I've often explained to them that same thing, that while I can hit these higher notes and sing within them having practiced carefully, it still never reaches a full tenorial sound in that register, and it's a more strained or intense quality than an actual tenor or even a high baritone would have at that same range. My stamina and natural advantage are always placed much lower in pitch, which is part of what allows me the flexibility to carry a bright timbre down so low without losing the fullness of the note... A tenor could not carry a full resonant quality down quite as low, even if they could technically sing the lower pitches.