@@vocalfriperna Thank you so much for the reply. I have a follow up question: when does an operatic tenor need to switch to Mode 2 (unless he doesn't need to do that at all)?
@@Murzilka_Murzilka I think it’s a thing that happens when you create certain colors. You could certainly have some Mode 2 influenced sounds in something like “Je crois entendre encor.” But typically those moments in opera would be more effect, than normal production, so as to sustain acoustic carrying power and robustness of tone. Even in most Mozart. Britten operas would have some other colors at times. So in the end. It just depends.
Tnx for demonstrating these different approaches. I was also watching A video where Nicolai gedda was teaching how to cover. .. there he explained that sustaining A note like G without covering can damage the voice. He also named A tenor "Cesare Valetti" who damaged his voice on long open G s of Nemorino role..... and another tenor Luigi Alva sings without covering. I think many classical tenors have explained this that covering is not just for style. It makes it easier to go to the top. And also sustain hi note without damaging your voice. Keeping the vowal shape and letting the unintentional modification happen seems not to work well for all type of voice as Kenneth Bozeman also mentioned.
Hi. So many singing styles will sing in this pitch range without covering or injuring their voice. In operatic singing, there is certainly “risk” to singing overly open in passaggio regularly due to the likelihood of the open timbre being coupled with laryngeal raising and possible strain. For the singer’s self perception there is definitely a sense of ease when the voice turns over. So it definitely “seems safer.” But proving that would be difficult. There are musical theater singers, pop singers, and rock singers, among others, who sing in this pitch range with open timbre, who perform far more often than opera singers without injury. There are even cases of successful operatic tenors (and baritones) who sing with fairly open timbres through passaggio without turning or covering. Though most of those voices end up singing lighter repertoire (Mozart, Rossini). In the end, most sounds by themselves are not injurious. But repeated poor production does lead to issues.
4 месяца назад
what if my vocal breaks when going through the passagio? I'm not a trained singer but I'm trying to do something similar to what you're doing for past couple years and it's not going anywhere sadly.
I do. You can book directly on my website. NicholasPerna.com I currently don’t have much availability due to a pending move this summer. Once August comes I’ll have more openings.
Hello Dr. Perna, is the sound you are showing on the G in Mode 1 or Mode 2?
Mode 1. It’s still a robust CQ. Likely mid-60s. Been meaning to repeat this with EGG.
@@vocalfriperna Thank you so much for the reply. I have a follow up question: when does an operatic tenor need to switch to Mode 2 (unless he doesn't need to do that at all)?
@@Murzilka_Murzilka I think it’s a thing that happens when you create certain colors. You could certainly have some Mode 2 influenced sounds in something like “Je crois entendre encor.” But typically those moments in opera would be more effect, than normal production, so as to sustain acoustic carrying power and robustness of tone. Even in most Mozart. Britten operas would have some other colors at times. So in the end. It just depends.
Tnx for demonstrating these different approaches.
I was also watching A video where Nicolai gedda was teaching how to cover. .. there he explained that sustaining A note like G without covering can damage the voice.
He also named A tenor "Cesare Valetti" who damaged his voice on long open G s of Nemorino role..... and another tenor Luigi Alva sings without covering. I think many classical tenors have explained this that covering is not just for style. It makes it easier to go to the top. And also sustain hi note without damaging your voice.
Keeping the vowal shape and letting the unintentional modification happen seems not to work well for all type of voice as Kenneth Bozeman also mentioned.
Hi. So many singing styles will sing in this pitch range without covering or injuring their voice. In operatic singing, there is certainly “risk” to singing overly open in passaggio regularly due to the likelihood of the open timbre being coupled with laryngeal raising and possible strain. For the singer’s self perception there is definitely a sense of ease when the voice turns over. So it definitely “seems safer.” But proving that would be difficult. There are musical theater singers, pop singers, and rock singers, among others, who sing in this pitch range with open timbre, who perform far more often than opera singers without injury. There are even cases of successful operatic tenors (and baritones) who sing with fairly open timbres through passaggio without turning or covering. Though most of those voices end up singing lighter repertoire (Mozart, Rossini). In the end, most sounds by themselves are not injurious. But repeated poor production does lead to issues.
what if my vocal breaks when going through the passagio? I'm not a trained singer but I'm trying to do something similar to what you're doing for past couple years and it's not going anywhere sadly.
Yeah, it often does require some individual training with a teacher. Sorry you are struggling.
@@vocalfriperna do you do online lessons by any chance?
I do. You can book directly on my website. NicholasPerna.com I currently don’t have much availability due to a pending move this summer. Once August comes I’ll have more openings.
Hi! What software is that?
Voce Vista Video