Mr. Jose, in these times of trouble where everybody is working 12 hours to earn so little, and coaches ask so much for 1 hour of singing, i really wanna thank you at the bottom of my heart for all these time and effort you put in to make those free videos to the public. I really love the way you teach also, you seem so confident and sure about what you do, giving us a lesson on how to take the new information, because i think the number one barrier to the highnotes is the phsycological aside from the physiological perspective. Thank you soooo soooo much!!
Having been a student of singing for over 50 yrs, I can testify personally that I have *never* been taught this passagio explanation and demonstration before. Bravo Jose! Keep it up!
There's a magnetic allure to your teaching style with a genuine passion to want others to succeed. Watching your videos has helped me navigate better through the passaggio and prove maintaining a low larynx with immediate results. Thanks for sharing your talent and skills. When it makes clear sense, it makes exponential cents.
Pity RUclips wasn’t around when I was studying, this information cost me thousands back in the day 😂. You sound fantastic and your teaching style is wonderful.
His F is so resonant and beautiful. It is a representation that his technique is perfect. This is such practical instruction versus most teachers who just speak in vague metaphors. ❤
J’ai fait 5 années de conservatoire et toute ma carrière sans qu’aucun professeur ne réussisse à me faire comprendre le mécanisme de la « copertura ». J’ai toujours chanté en force avec l’angoisse de craquer les notes aiguës. Je découvre et comprends aujourd’hui ce mécanisme grâce à vous, avec le triste sentiment d’être passé à côté de ma vraie vie de chanteur. Le miracle d’une voix facile et homogène ne s’est jamais produit. Chanter était devenu une torture psychologique. Je vous remercie de votre message pédagogique. Je vois dans votre jeunesse et votre beauté, tout ce que j’ai perdu 😞😭😭😭
thank you so much ! What's interesting is that you explain WHY it works or doesn't work and so we can reproduce it consciously and not just because someone told us "open your mouth" "close your mouth".
I find it so interesting that soo many more people notoriously have an issues with the larynx rising and speak in a way that encourages that as they ascend in pitch. I find this is such a thing with smaller/thinner instruments like light tenors and baritones or sopranos. While thicker dramatic ones, from basses to dramatic tenors and even some altos/mezzos we have the opposite issue which is we go for « too wide » a sound that leads to a woofy/airy sound that disrupts the resonance. I never found the passaggio difficult to shift into or sing in till I learned that my go-to MF to FORTE that naturally keep the larynx down and engages my support (because it feels like a projected yell) which is a necessary sound, was not the only way to sing up there. Now I feel like im learning what people with naturally thinner voices have to unlearn while all of them are learning how to do what I do naturally which is the tilt without dropping the larynx support especially on a true forte note. The nature of the instrument and the tendencies of singers really can give away alot of what future issues that will come across. Its interesting.
I just started learning Opera singing, and went straight to the Cairo Opera House to take classes. I gotta tell you man, most of my rapid improvements in 3 weeks are purely coming from your videos. Thank you so much!!!!
This is a very well articulated explanation of Bel Canto opera technique and the importance of incorporating the mix of head and chest registers. It helps you strengthen the “middle of the hourglass” shape of the natural voice’s strength, and form to into more of a controlled column by balancing the resonance between the nasal cavity and chest. I was trained by highly distinguished pedagogue Julie Freeman. As she would say, the purpose of this training, aside from the aesthetic and traditional qualities of affectation, it is to retrain your impulses to draw upon all the peripheral musculature surrounding the laryngal folds to take the strain off of the voice itself and let all the rest of the body share in the function of producing the desired vocal result. In essence training our body to do all the work so the voice itself can just be freed up to shine and show off as it pleases. This process takes a long time and ultimately the goal is to achieve “singers formant” perpetually. This is where the positioning of the musculature and control of air flow result in optimal placement to produce overtones at frequencies that are piercing, therefore less actual volume and effort are needed and a shinier sound is achieved. This is the means by which fully-trained opera singers are able to perform with any microphone while still filling an entire opera house with their voice above an orchestra. With time and dedication, the vocal folds are slowly stretched and strengthened, and one learns to position their inner musculature properly. My upper vocal range went from shouting an F4 as a Verdi Baritone to now being able to sing in a mix up to G5. My strongest chest notes are G#4 and A4, and my strongest upper mix notes are C#5 and D5. I am so thankful and grateful for the training I received and I hope God will provide the opportunities for me to use it for His glory.
Well, I understand your explanation and it’s totally ok for those who just start. Nevertheless the yawn position in the full would lead to a sound we call „Knödeln“ in the German speaking countries. Then it’s to extreme as it then can lead very easily to some tensions in the tongue. The next thing: Italian has already a lot of the „nosiness“ in the language whereas other languages - like German - are not as nasal. So, I‘m very much in the school of bel canto with the focus on the muscle „depressus septi Naso“ to be activated which will lead to a wider nostrils and this tension leads to the soft palate to get higher. It you watch the videos of Pavarotti you see this very well. So, that’s just meant additional. And of course, if you have an alto or a countertenor there are some little differences as well, especially where to start with adding head sound/falsetto.
You are great singing teacher! Several months ago, a voice teacher with a Ph.D. degree in music told me that I should not change vowel shapes while the voice was rising. But when I tried to hold the same vowel position while increasing the pitch, the singing became very difficult, I experienced a lot of muscle tension but still failed to maintain the save vowel with the same tone quality going through the passagio. This morning, I tried your way of shifting gears gradually while increased the pitch one note at a time. The result was more consistent tone quality holding the save vowel and sounded like I was singing the same way from middle range through mixed voice to head voice range. It is such a paradox! While I try to keep everything the same but the resulting sound effect is not the same. While I intentionally shift gears while singing in different ranges especially up and down the passagio, the resulting voice sounds like I was singing the same way throughout the range. Another important point you mentioned is that while going up the passagio, only expand the back part of the mouth and keep the front mouth tight. The resulting sound is more rounded, spacious and with soft head resonance. When I reach the top range, my voice volume is very small but with very good quality. I think it requires muscle strength to produce large sound volume in high range and it will take time to build that.
my voice teacher used to tell me to not think about registers, it's all one voice. Well, it's not, we switch the gear and only give an illusion of one voice, brilliant
This is so well explained!! I am glad you acknowledge that the chest has to start lessening around middle C - you hear that in good tenors who do it - but a lot of people seem to like to say that it's just all chest until f#/g which doesn't make sense to me. I love your concept of the nobs :)
ABSOLUTELY agree with this. Alot of female vocal teachers try to teach that males start mixing around F4. But as a male true baritone, I feel the need for a gear change start at middle C.
@@vocalbooth8585 yea I feel like it’s not a flip yet (which does happen after f) but there’s still a lightening of the sound that needs to happen - especially in tenor rep
Agree strongly with this as a probable contralto. Some people claim that mix only starts at G above middle C, they say this about tenors too, and it makes no sense to me either. I start lightening up around D and that way the transition is smooth as butter, no flipping into a weaker sound and no yelling. For clarification, I also have a transition at about F/G so tenor technique advice is very helpful to me. I don't have quite the same low notes as a tenor and the quality of our head voice is different but there's a lot of overlap :)
The exact pitches of the passaggio vary slightly among tenors. That of heavier tenor voices will be slightly lower (young singers with potentially dramatic voices: take note). Listen to Jon Vickers, especially in performance of Act 1 of Die Walküre. The 1st, 2nd, and 3rd scenes of that act are perfectly composed to warm up that type of tenor, each subsequent scene being slightly higher in general tessitura than its predecessor. When the climactic high A finally arrives at the end of the act, it is a natural outpouring of sound, not mere blasting. Vickers is masterful in his use of this while maintaining a ferocious focus on delivering the text (which is the reason he walked out on Solti, who wanted him to downplay the text).
The salient points in this technique is , coincidentally, something we have in common, except that you elaborate on it more in this video lesson. Bravo, Jose!
For a long time I have been trying to find answers to this exact exercise, I finally not only got the concept of passage but also was able to produce it with great ease, I was never able to reach those high notes, I am very but very thankful. than you Jose.
Brilliant educator! Can't sing at all but I'm a long time opera aficionado. This will help me understand and appreciate singers' performances much better. Thank you!
Bravissimo, thank you, José, for your time and wonderful explanation. My god, a better way to do it is not there. Perfect, keep up the good work. Love your craftsmanship and science. Big hug from the Netherlands. Jan
You have a unique gift of explaining in simple easy to understand terms, of how to improve ones own singing voice. Thank you . I am a new subscriber to your channel.
Muchas gracias por compartir tus conocimientos. Eres muy buen comunicador y excelente profesor. Para cuando unas clases magistrales en Mallorca?. Estaríamos encantados de que nos enseñaste al coro del teatro principal de Palma. No se si tu agenda te permite hacer alguna opera con nosotros. Un gran abrazo!.
Excelente!!!! Muchas gracias, es muy claro todo y que satisfactorio es afirmar cosas y depurar otras, yo estaba comprimiendo la laringe y esto me ayudó a verlo. Abrazos y bendiciones
This was very informative. My teacher never explained the "seesaw" concept. Perfect explanation! I got this instantly and today got my first encore. Thank you
Gracias por compartir tan generosamente tus conocimientos, José! O sea , "si canta como si parla" vale hasta el do central para el tenor, hasta el si o si bemol para el barítono.
First time around, the "passage" on laryngeal tilt, 6:20 ( - "no" - "yes") appeals to me most, never seen that demonstrated before in such an appealing way. You make it very comprehensive that there must be some "no way to go on" but shift, gear, tilt. Is it the larynx only? You mentioned "opera or not", before. My guess is that it's about "resonance", too. My own personal memo here is, that "Larynx tilt" may denote a point where vocal cords and resonance muscles converge (where resonance is mouth when cords belt (AC/DC rhymes: "hell's bells"), and resonance is lung muscles (...) when the larynx tilts. Some other first impression of mine is that you are some yet unknown (to me) awesome singer, out-competing Freddy Mercury. So, I see around across your channel, and surely subscribe. It's the quality of the singing - what you tell mus be true. To show how you can sing needs no theoretical explanation, so to say. Thank you!
JOsé querido , gracias , gracias ....como habrás trabajado para poder explicar el passaggio de esta formidable manera! Casi que vi la voz , por primera ves . Gracias , gracias ..sigue por favor ..Oscar de Córdoba Argentina .abrazo grande
I love your lessons, it resonates with me and my body. Literally today I struggled with high note in Paul Anka's "Put your head on my shoulder" and this one lesson and pharyngeal adjustment made it doable with little to no effort. wow
I have been struggling with singing for so long and not being able to sing C4-E4 at any good volume, but this video was the key and now I can sing super loud at any pitch thank you
Best video! Thank you for the good and bad examples. I have to admit, I did get a good laugh at how extremely clear the bad examples were. You’re absolutely right 😂 👌. Thank you!
I really agree, and I have a slightly lighter voice than you in terms of chest voice% above the passagio, in that I have a resonant sound with little chest voice as it feels to me, and I lower chest voice by percentage from E to G. have been singing opera and now Choral for 30 years, am 50. I sing with a technique where I 'think' falsetto from E while holding some chest and can go to a high c, but the work is in the D to G area to transition back and forth mainly to and from falsetto but keeping some chest resonance. My strategy is to think falsetto while maintaining slight chest at a vastly lower percentage than falsetto. I can ring, due to resonance, singing like that over other operatic very young tenors pushing chest at a higher percentage without getting tired and they feel tired afterward, and i used to do that singing the Harlequin serenade of I Pagliaccia with mostly high A's in mostly chest in my 20s and 30s.... Now I know, The resonance always carries more, even over a higher percentage young tenor singing primarily chest voice. and after hearing recordings, I hear my 'falsetto' with a touch of chest mixte, carry even more than their predominantly chest voice high notes and sounding just as chesty as their tones.. Resonance is amazing. I have been amazed because to me it feels like I am singing complete falsetto high notes and when i hear the recording with ensemble chorus and other soloists, a loud organ or instruments, and my sound does sound like there is some chest and the sound carries and is heard in the ensemble.
Thanks Jose ❤ I am currently singing till E4 in belting and when I hit F4 I strained my voice yet I sometimes sing some songs till A4 I do it by instinct. But never knew that opera is so complex but bless you ❤
Quite incredible. You have managed to explain navigating the passaggio in the simplest terms that I can understand and apply successfully by copying what you show. Over the last 30 years I've had about 4 different so-called teachers and none of them have managed to show me. I'm now singing through the passaggio with relative ease and I know with further practice I will master it once and for all and not be afraid every time I have to approach those notes. Thank you so much. Also to explain that for the higher notes above A that you need to open the mouth is a revelation. First time I tried it I sung and easy B natural and C for the first time ever without straining. I was always keeping my mouth closed for those high notes. Your other videos about the importance of chord closure have also been a revelation and I have been practicing that to great effect.
Bravissimo! Finalmente un ottimo cantante che riesce a spiegare chiaramente come la voce puó trovare nella massima libertà la strada giusta. Non confondere il mezzo col fine!!! Grazie per la chiarissima spiegazione e anche per gli esempi di errori da non commettere ( e che è facile commettere!). E complimenti per la Sua bella voce e la grande intelligenza interpretativa! Peccato non esserci conosciuti di persona! Buona fortuna per la Sua carriera! Andrea Panaccione
I must confess I've been indulging in "overusing" headvoice when I get to the passagio and beyond (as in: like 80% head voice for an F?) because I just have operatic singing as a hobby and even then most of my repertoire is symphonic metal, but your explanation makes me want to try to have this balance some more. I just have to wait for daylight and I'll be sure to rewatch and practice! Thank you!
I always wanted to learn how to sing Opera, so I finally decided to look for some lessons online. I already have an understanding of how to Scream for Metal, and it has helped as I have been teaching myself Opera and I'm learning at a decent pace. Your lessons are by far the best and most understanding I have come across. Thank you so much for it.
God! dear awesome tenor I knew this " trick"; due I have many " subscrition" ; I saw a good russian teacher asked her student to put a " " cork" in her mouth; I write him asked for curiosity; he answered me back very gently and explain the principle of " fisics" produced by the resistency of " air' which it help in vibrato, resonance and endurance and on the other hand " the cork" mantain the yawn into position; baskets of mellismS of thanks😅❤❤
Thank you very much for explaning the mixing of head and chest voice, this is just what I needed, because it became a struggle and a fight, between different views that I heard!
I like most of the explanation but I think there are other ways to sing the low range, not exerting to the "speach level", especially for the lower voices. Listen for example to L. Warren, he keeps his "stretch" all the way down to his bottom notes. Overall, I think a singer should "learn" from his upper range, bringing the acquired "stretch" down, which can reveal nice and rich low tones. Of course speech-like singing in the low tones is safe though.
I think that anyway it's better to start from speach level to find clear italian vowels and to learn singing outside, not inside your mouth. And then, when you have right technic you can try to put down "stretch" keeping clear vowels and it will be safe and will not let you sound false dark and somewhere inside😅
One thing I don't understand...How can reduce chest voice and add head voice? I mean I can do it, but then it is full falseto, and that's not opera. It would help a lot if you make a video about this. I am a bass by the way. Thank you for your time!
From what I understand about this video, it's the 'tilt' (yawn position) that turns on the head voice. I think once 'tilted' the head voice pretty much just increases automatically as you go higher in your range above the passaggio. Someone please correct me if I'm wrong. The passaggio for a base, of course, is lower than for a Tenor so you would need to find out where that is and start the tilt there. The principle is the same though. Getting good chord closure is also important and practicing that will prevent going into falseto on the higher notes. Some of Jose's videos explain how to do this. It's certainly worked for me.
Thank you so much for this. Having been diagnosed incorrectly as a baritone for much of my life, I'm just learning to manage the passaggio and to discover the new world above F#. This is super-helpful and practical as I'm singing "Je crois entendre encore" in a couple of days, and it dances around the passagio a lot.
God! awesome tenor and magister; I 'm opera student ; specially " baroque"; I need my voice" floating"...any advice? on the other hand I have never , ever have such an accurate and clear explanation; short, precise, no words to describe your " dedication" to student...thanks MAESTRO❤❤❤😅
Top notch video Jose. Thanks for the intelligent, intuitive and understandable explanation to something that so many folks make into an almost unachievable mystery. Grazie mille!
José, tus videos son masterclasses. Por el momento con mi cambio de ciudad no puedo estudiarlos como corresponde, pero me alegro de hacerlo estando en mi nuevo ambiente. Te sugiero que almacenes tus videos en tu PC. Safe them. A veces google y youtube cambian sus requisitos y cuesta un mundo adaptarse. Sería imperdonable perder tanta dedicación y tanto amor.
Now that my teacher has finally approved of me singing « Che gelida manina », I realised that as a Tenor the issue of the passaggio (F/ F sharp/G) will always be there, no matter how high you can go 😅
The educational quality of your videos is super 😊. It would be great if there were time stamps to quickly review each concept. I sing rock and pop genres with bands and so often see singers with no idea how their instrument functions. Even worse is trying to explain to musicians that voice is not controlled by a volume switch or simply yelling louder. I've subscribed 🤘
7 years of vocal training and you teach me more about singing in 20 min. 😮
Same here
For reaaaalll
how do we meet him and get lessons with him weekly!!! i need to be the best singer ever
Mr. Jose, in these times of trouble where everybody is working 12 hours to earn so little, and coaches ask so much for 1 hour of singing, i really wanna thank you at the bottom of my heart for all these time and effort you put in to make those free videos to the public. I really love the way you teach also, you seem so confident and sure about what you do, giving us a lesson on how to take the new information, because i think the number one barrier to the highnotes is the phsycological aside from the physiological perspective. Thank you soooo soooo much!!
Having been a student of singing for over 50 yrs, I can testify personally that I have *never* been taught this passagio explanation and demonstration before. Bravo Jose! Keep it up!
There's a magnetic allure to your teaching style with a genuine passion to want others to succeed. Watching your videos has helped me navigate better through the passaggio and prove maintaining a low larynx with immediate results. Thanks for sharing your talent and skills. When it makes clear sense, it makes exponential cents.
@@anthonyspirlark thank you very much! 🙏❤️❤️
20 years ago , a half hour of voice lesson was around 60$ for some teachers and this is one of the best explanations I’ve heard. Thanks
Pity RUclips wasn’t around when I was studying, this information cost me thousands back in the day 😂. You sound fantastic and your teaching style is wonderful.
His F is so resonant and beautiful. It is a representation that his technique is perfect. This is such practical instruction versus most teachers who just speak in vague metaphors. ❤
This is the best signing masterclass on the passagio ever!!!
Your language, demonstrations, and easy way of following has def filled in some pot holes in my own vocal technique. You deserve a Dundie Award!
🙏 Dundie!!! 🏆 😂😂
@@Tenor_Simerilla😂😂😂
J’ai fait 5 années de conservatoire et toute ma carrière sans qu’aucun professeur ne réussisse à me faire comprendre le mécanisme de la « copertura ». J’ai toujours chanté en force avec l’angoisse de craquer les notes aiguës. Je découvre et comprends aujourd’hui ce mécanisme grâce à vous, avec le triste sentiment d’être passé à côté de ma vraie vie de chanteur. Le miracle d’une voix facile et homogène ne s’est jamais produit. Chanter était devenu une torture psychologique. Je vous remercie de votre message pédagogique. Je vois dans votre jeunesse et votre beauté, tout ce que j’ai perdu 😞😭😭😭
thank you so much ! What's interesting is that you explain WHY it works or doesn't work and so we can reproduce it consciously and not just because someone told us "open your mouth" "close your mouth".
This is how to do it. I use exact the same technique when I'm singing modern music. Never had any voice problems last 15 year using this approach.
What kind of modern music are you speaking of? What genre of music?
Pop, rock and musical. Me singing. ruclips.net/video/_bO0TPPE9Gk/видео.htmlsi=Dymh52ND_9FSeDXq
ruclips.net/video/_bO0TPPE9Gk/видео.htmlsi=Dymh52ND_9FSeDXq
I find it so interesting that soo many more people notoriously have an issues with the larynx rising and speak in a way that encourages that as they ascend in pitch. I find this is such a thing with smaller/thinner instruments like light tenors and baritones or sopranos. While thicker dramatic ones, from basses to dramatic tenors and even some altos/mezzos we have the opposite issue which is we go for « too wide » a sound that leads to a woofy/airy sound that disrupts the resonance.
I never found the passaggio difficult to shift into or sing in till I learned that my go-to MF to FORTE that naturally keep the larynx down and engages my support (because it feels like a projected yell) which is a necessary sound, was not the only way to sing up there. Now I feel like im learning what people with naturally thinner voices have to unlearn while all of them are learning how to do what I do naturally which is the tilt without dropping the larynx support especially on a true forte note.
The nature of the instrument and the tendencies of singers really can give away alot of what future issues that will come across. Its interesting.
14:50 magic trick
I just started learning Opera singing, and went straight to the Cairo Opera House to take classes. I gotta tell you man, most of my rapid improvements in 3 weeks are purely coming from your videos. Thank you so much!!!!
These topics are explained and demonstrated brilliantly in so many ways! You don’t get this from your typical voice teacher. Thank you brother
This is a very well articulated explanation of Bel Canto opera technique and the importance of incorporating the mix of head and chest registers. It helps you strengthen the “middle of the hourglass” shape of the natural voice’s strength, and form to into more of a controlled column by balancing the resonance between the nasal cavity and chest. I was trained by highly distinguished pedagogue Julie Freeman. As she would say, the purpose of this training, aside from the aesthetic and traditional qualities of affectation, it is to retrain your impulses to draw upon all the peripheral musculature surrounding the laryngal folds to take the strain off of the voice itself and let all the rest of the body share in the function of producing the desired vocal result. In essence training our body to do all the work so the voice itself can just be freed up to shine and show off as it pleases. This process takes a long time and ultimately the goal is to achieve “singers formant” perpetually. This is where the positioning of the musculature and control of air flow result in optimal placement to produce overtones at frequencies that are piercing, therefore less actual volume and effort are needed and a shinier sound is achieved. This is the means by which fully-trained opera singers are able to perform with any microphone while still filling an entire opera house with their voice above an orchestra. With time and dedication, the vocal folds are slowly stretched and strengthened, and one learns to position their inner musculature properly.
My upper vocal range went from shouting an F4 as a Verdi Baritone to now being able to sing in a mix up to G5. My strongest chest notes are G#4 and A4, and my strongest upper mix notes are C#5 and D5. I am so thankful and grateful for the training I received and I hope God will provide the opportunities for me to use it for His glory.
Even though I’m a woman, I like information like this. At the end of the day, anybody can use how to figure out navigating the Passagio. Thank you.
Well, I understand your explanation and it’s totally ok for those who just start.
Nevertheless the yawn position in the full would lead to a sound we call „Knödeln“ in the German speaking countries. Then it’s to extreme as it then can lead very easily to some tensions in the tongue.
The next thing: Italian has already a lot of the „nosiness“ in the language whereas other languages - like German - are not as nasal.
So, I‘m very much in the school of bel canto with the focus on the muscle „depressus septi Naso“ to be activated which will lead to a wider nostrils and this tension leads to the soft palate to get higher. It you watch the videos of Pavarotti you see this very well.
So, that’s just meant additional.
And of course, if you have an alto or a countertenor there are some little differences as well, especially where to start with adding head sound/falsetto.
You are great singing teacher! Several months ago, a voice teacher with a Ph.D. degree in music told me that I should not change vowel shapes while the voice was rising. But when I tried to hold the same vowel position while increasing the pitch, the singing became very difficult, I experienced a lot of muscle tension but still failed to maintain the save vowel with the same tone quality going through the passagio.
This morning, I tried your way of shifting gears gradually while increased the pitch one note at a time. The result was more consistent tone quality holding the save vowel and sounded like I was singing the same way from middle range through mixed voice to head voice range. It is such a paradox! While I try to keep everything the same but the resulting sound effect is not the same. While I intentionally shift gears while singing in different ranges especially up and down the passagio, the resulting voice sounds like I was singing the same way throughout the range. Another important point you mentioned is that while going up the passagio, only expand the back part of the mouth and keep the front mouth tight. The resulting sound is more rounded, spacious and with soft head resonance. When I reach the top range, my voice volume is very small but with very good quality. I think it requires muscle strength to produce large sound volume in high range and it will take time to build that.
Wonderful! Keep at it! Glad I was of help! 🙏
my voice teacher used to tell me to not think about registers, it's all one voice. Well, it's not, we switch the gear and only give an illusion of one voice, brilliant
This is excellent! Thank you so much for producing this excellent video!
This is so well explained!! I am glad you acknowledge that the chest has to start lessening around middle C - you hear that in good tenors who do it - but a lot of people seem to like to say that it's just all chest until f#/g which doesn't make sense to me. I love your concept of the nobs :)
ABSOLUTELY agree with this. Alot of female vocal teachers try to teach that males start mixing around F4. But as a male true baritone, I feel the need for a gear change start at middle C.
@@vocalbooth8585 yea I feel like it’s not a flip yet (which does happen after f) but there’s still a lightening of the sound that needs to happen - especially in tenor rep
definitely, acknowledging that there is a first passagio to adjust for is key to navigating the second passagio in the notes to come.
Agree strongly with this as a probable contralto. Some people claim that mix only starts at G above middle C, they say this about tenors too, and it makes no sense to me either. I start lightening up around D and that way the transition is smooth as butter, no flipping into a weaker sound and no yelling.
For clarification, I also have a transition at about F/G so tenor technique advice is very helpful to me. I don't have quite the same low notes as a tenor and the quality of our head voice is different but there's a lot of overlap :)
The exact pitches of the passaggio vary slightly among tenors. That of heavier tenor voices will be slightly lower (young singers with potentially dramatic voices: take note). Listen to Jon Vickers, especially in performance of Act 1 of Die Walküre. The 1st, 2nd, and 3rd scenes of that act are perfectly composed to warm up that type of tenor, each subsequent scene being slightly higher in general tessitura than its predecessor. When the climactic high A finally arrives at the end of the act, it is a natural outpouring of sound, not mere blasting. Vickers is masterful in his use of this while maintaining a ferocious focus on delivering the text (which is the reason he walked out on Solti, who wanted him to downplay the text).
The salient points in this technique is , coincidentally, something we have in common, except that you elaborate on it more in this video lesson. Bravo, Jose!
the yawn exercise is so good i actuallly feel my voice opening up like never before
This was by far the clearest video I've ever encountered on this topic. Thank you very much for your thorough explanation...
Excellent singing class! Clear, precise, useful, understandable and WOW! what a beautiful voice!
Wow, I just found your channel, and you are wonderful! What a beautiful voice! I'm a soprano, and this video was still super interesting!! Bravo!
I love the sound of your voice.
That’s brilliant! You’re a fantastic singer with an outstanding technique 👏🏻👏🏻👏🏻👏🏻👏🏻
This is a real simple and super useful explanation for something that it’s been for centuries the headache of all lyric singers
For a long time I have been trying to find answers to this exact exercise, I finally not only got the concept of passage but also was able to produce it with great ease, I was never able to reach those high notes, I am very but very thankful. than you Jose.
Brilliant educator! Can't sing at all but I'm a long time opera aficionado. This will help me understand and appreciate singers' performances much better. Thank you!
Bravissimo, thank you, José, for your time and wonderful explanation. My god, a better way to do it is not there. Perfect, keep up the good work. Love your craftsmanship and science. Big hug from the Netherlands. Jan
Wow! Best description I have ever heard
Can you do a tutorial on how to not fall into falsetto as you go higher?
What a wonderful video! I am a vocal coach and love this explanation!!!
The best teacher for our voice🎉and the most handsome 🎉 utube John Bavas Crazy
Ma che bella spiegazione, Josè! Grazie, sei bravissimo! ❤
Great lesson! Thank you. You vocals are extraordinary
Jose, Man, these are such great explanations. Thanks so much.
For the very first time I transitioned my registers smoothly. Thanks a ton !
You have a unique gift of explaining in simple easy to understand terms, of how to improve ones own singing voice. Thank you . I am a new subscriber to your channel.
Nunca me explicaron este ejercicio tan bien!!! 😮👌👏
You're the best!!! This is exactly what I was taught.
Muchas gracias por compartir tus conocimientos. Eres muy buen comunicador y excelente profesor. Para cuando unas clases magistrales en Mallorca?. Estaríamos encantados de que nos enseñaste al coro del teatro principal de Palma. No se si tu agenda te permite hacer alguna opera con nosotros. Un gran abrazo!.
Excelente!!!! Muchas gracias, es muy claro todo y que satisfactorio es afirmar cosas y depurar otras, yo estaba comprimiendo la laringe y esto me ayudó a verlo. Abrazos y bendiciones
This was very informative. My teacher never explained the "seesaw" concept. Perfect explanation! I got this instantly and today got my first encore. Thank you
Thanks a million, Jose ❤❤❤
Gracias por compartir tan generosamente tus conocimientos, José! O sea , "si canta como si parla" vale hasta el do central para el tenor, hasta el si o si bemol para el barítono.
First time around, the "passage" on laryngeal tilt, 6:20 ( - "no" - "yes") appeals to me most, never seen that demonstrated before in such an appealing way. You make it very comprehensive that there must be some "no way to go on" but shift, gear, tilt. Is it the larynx only? You mentioned "opera or not", before. My guess is that it's about "resonance", too. My own personal memo here is, that "Larynx tilt" may denote a point where vocal cords and resonance muscles converge (where resonance is mouth when cords belt (AC/DC rhymes: "hell's bells"), and resonance is lung muscles (...) when the larynx tilts.
Some other first impression of mine is that you are some yet unknown (to me) awesome singer, out-competing Freddy Mercury. So, I see around across your channel, and surely subscribe. It's the quality of the singing - what you tell mus be true. To show how you can sing needs no theoretical explanation, so to say. Thank you!
A really good explication! Bravo maestro!!
Thank you very much!
Far out Gigli is magnificent
Great lesson
Wow. You’re a great teacher.
Two thumbs up from Indonesia 🇮🇩🇮🇩 i love ur explanation 👍👍🙏
JOsé querido , gracias , gracias ....como habrás trabajado para poder explicar el passaggio de esta formidable manera! Casi que vi la voz , por primera ves .
Gracias , gracias ..sigue por favor ..Oscar de Córdoba Argentina .abrazo grande
I love your lessons, it resonates with me and my body. Literally today I struggled with high note in Paul Anka's "Put your head on my shoulder" and this one lesson and pharyngeal adjustment made it doable with little to no effort. wow
I have been struggling with singing for so long and not being able to sing C4-E4 at any good volume, but this video was the key and now I can sing super loud at any pitch thank you
Man you’re a great teacher 🙌🏾🔥 thanks
concise and to the point.
Best video! Thank you for the good and bad examples. I have to admit, I did get a good laugh at how extremely clear the bad examples were. You’re absolutely right 😂 👌. Thank you!
An excellent demonstration of the preparation particularly the mouth position. Thank you very much.
I really agree, and I have a slightly lighter voice than you in terms of chest voice% above the passagio, in that I have a resonant sound with little chest voice as it feels to me, and I lower chest voice by percentage from E to G. have been singing opera and now Choral for 30 years, am 50. I sing with a technique where I 'think' falsetto from E while holding some chest and can go to a high c, but the work is in the D to G area to transition back and forth mainly to and from falsetto but keeping some chest resonance. My strategy is to think falsetto while maintaining slight chest at a vastly lower percentage than falsetto. I can ring, due to resonance, singing like that over other operatic very young tenors pushing chest at a higher percentage without getting tired and they feel tired afterward, and i used to do that singing the Harlequin serenade of I Pagliaccia with mostly high A's in mostly chest in my 20s and 30s.... Now I know, The resonance always carries more, even over a higher percentage young tenor singing primarily chest voice. and after hearing recordings, I hear my 'falsetto' with a touch of chest mixte, carry even more than their predominantly chest voice high notes and sounding just as chesty as their tones.. Resonance is amazing. I have been amazed because to me it feels like I am singing complete falsetto high notes and when i hear the recording with ensemble chorus and other soloists, a loud organ or instruments, and my sound does sound like there is some chest and the sound carries and is heard in the ensemble.
Thanks Jose ❤ I am currently singing till E4 in belting and when I hit F4 I strained my voice yet I sometimes sing some songs till A4 I do it by instinct. But never knew that opera is so complex but bless you ❤
Jose, благодарю за подсказки и помощь. mi piace. Grazie mille signor. Questo e molto importante per me.
I think i figured out now, how to sing without straining the voice. Thanks a lot :)
GENIUS, THANKS MAN, ITS COMLETLY JUST WHAT I SEARCHED SINCE I WAS 16, LIKE, 7 YEARS
I LOVE YOU MAN YOU SOLVED MY PROBLEM
What a great and clear explanation.
Браво!!!
Quite incredible. You have managed to explain navigating the passaggio in the simplest terms that I can understand and apply successfully by copying what you show. Over the last 30 years I've had about 4 different so-called teachers and none of them have managed to show me. I'm now singing through the passaggio with relative ease and I know with further practice I will master it once and for all and not be afraid every time I have to approach those notes. Thank you so much. Also to explain that for the higher notes above A that you need to open the mouth is a revelation. First time I tried it I sung and easy B natural and C for the first time ever without straining. I was always keeping my mouth closed for those high notes. Your other videos about the importance of chord closure have also been a revelation and I have been practicing that to great effect.
Bravissimo! Finalmente un ottimo cantante che riesce a spiegare chiaramente come la voce puó trovare nella massima libertà la strada giusta. Non confondere il mezzo col fine!!! Grazie per la chiarissima spiegazione e anche per gli esempi di errori da non commettere ( e che è facile commettere!). E complimenti per la Sua bella voce e la grande intelligenza interpretativa! Peccato non esserci conosciuti di persona! Buona fortuna per la Sua carriera! Andrea Panaccione
Wow! Now I understand my problem! I have been trying to sing everything in chest voice. Great video. Thank you!!
I must confess I've been indulging in "overusing" headvoice when I get to the passagio and beyond (as in: like 80% head voice for an F?) because I just have operatic singing as a hobby and even then most of my repertoire is symphonic metal, but your explanation makes me want to try to have this balance some more. I just have to wait for daylight and I'll be sure to rewatch and practice!
Thank you!
I always wanted to learn how to sing Opera, so I finally decided to look for some lessons online. I already have an understanding of how to Scream for Metal, and it has helped as I have been teaching myself Opera and I'm learning at a decent pace. Your lessons are by far the best and most understanding I have come across. Thank you so much for it.
The best video about passaggio I ever found here! So helpful, thank you very much ❤
Very informative mister. Thanks. Please post some exercises also.
THANKS.. 7 YEARS SINGING AND ALWAYS THE SAME PROBLEM ❤️, i gona try It tomorrw , i dont know if im baritenor, baritone or tenor but THANKS
I love and appreciate your teaching. You're a smart masterpiece ❤. Bravo brother🙋♂️
God! dear awesome tenor I knew this " trick"; due I have many " subscrition" ; I saw a good russian teacher asked her student to put a " " cork" in her mouth; I write him asked for curiosity; he answered me back very gently and explain the principle of " fisics" produced by the resistency of " air' which it help in vibrato, resonance and endurance and on the other hand " the cork" mantain the yawn into position; baskets of mellismS of thanks😅❤❤
Thank you so much. Although I am not an opera singer, this video has really helped me understand how to navigate these areas of my voice.
Thank you very much for explaning the mixing of head and chest voice, this is just what I needed, because it became a struggle and a fight, between different views that I heard!
All this info and all I can focus on is the Xbox controller
BRAVO Jose!
I like most of the explanation but I think there are other ways to sing the low range, not exerting to the "speach level", especially for the lower voices. Listen for example to L. Warren, he keeps his "stretch" all the way down to his bottom notes. Overall, I think a singer should "learn" from his upper range, bringing the acquired "stretch" down, which can reveal nice and rich low tones. Of course speech-like singing in the low tones is safe though.
I think that anyway it's better to start from speach level to find clear italian vowels and to learn singing outside, not inside your mouth. And then, when you have right technic you can try to put down "stretch" keeping clear vowels and it will be safe and will not let you sound false dark and somewhere inside😅
@@yuliana703 Agreed!
One thing I don't understand...How can reduce chest voice and add head voice? I mean I can do it, but then it is full falseto, and that's not opera. It would help a lot if you make a video about this. I am a bass by the way. Thank you for your time!
From what I understand about this video, it's the 'tilt' (yawn position) that turns on the head voice. I think once 'tilted' the head voice pretty much just increases automatically as you go higher in your range above the passaggio. Someone please correct me if I'm wrong. The passaggio for a base, of course, is lower than for a Tenor so you would need to find out where that is and start the tilt there. The principle is the same though.
Getting good chord closure is also important and practicing that will prevent going into falseto on the higher notes. Some of Jose's videos explain how to do this. It's certainly worked for me.
@@mrsteve7175 Thank you!
Thank you so much for this video! You managed to explain and demonstrate it so thoroughly that it became easy to understand.
Thank you so much for this. Having been diagnosed incorrectly as a baritone for much of my life, I'm just learning to manage the passaggio and to discover the new world above F#. This is super-helpful and practical as I'm singing "Je crois entendre encore" in a couple of days, and it dances around the passagio a lot.
I really wanna hear you sing some beyonce whitney mariah im very interested to hear how it sounds
Is it working for modern singing also?how I can sing weekend with this?
God! awesome tenor and magister; I 'm opera student ; specially " baroque"; I need my voice" floating"...any advice? on the other hand I have never , ever have such an accurate and clear explanation; short, precise, no words to describe your " dedication" to student...thanks MAESTRO❤❤❤😅
Well done, brother.
God bless.
Top notch video Jose. Thanks for the intelligent, intuitive and understandable explanation to something that so many folks make into an almost unachievable mystery. Grazie mille!
Thank you so much for your fantastic explanation on the passagio issue!
Great video! Thanks!
José, tus videos son masterclasses. Por el momento con mi cambio de ciudad no puedo estudiarlos como corresponde, pero me alegro de hacerlo estando en mi nuevo ambiente. Te sugiero que almacenes tus videos en tu PC. Safe them. A veces google y youtube cambian sus requisitos y cuesta un mundo adaptarse. Sería imperdonable perder tanta dedicación y tanto amor.
Now that my teacher has finally approved of me singing « Che gelida manina », I realised that as a Tenor the issue of the passaggio (F/ F sharp/G) will always be there, no matter how high you can go 😅
The educational quality of your videos is super 😊. It would be great if there were time stamps to quickly review each concept. I sing rock and pop genres with bands and so often see singers with no idea how their instrument functions. Even worse is trying to explain to musicians that voice is not controlled by a volume switch or simply yelling louder. I've subscribed 🤘
I'm in love. You are a fantastic teacher.