Yeah transposing Pavarotti’s exercises to the baritone range helped me sing above Eb4 and E4 without strain. When i first started I even struggled below my 2nd passaggio at like D4 before I even needed to cover.
@@bradycall1889 Brady, thank you for your comment. Luciano shared a Gem with us and it works for all voices. Here is another video I posted on that topic: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-D6B6-erabW0.htmlsi=a9IxIkIeYU9kNI6C All the best!
I disagree. This is old school. I know an easier way and it works fast. No covering, no "note identity" no open throat. Pavorotti eas one of a kind. Sound like yourself not anyone else. Pavirotti was classical opera, this throaty sound will not work in pop or rock. Period.
Great video! I’d like to add that in his biography, Pavarotti credited Joan Sutherland with teaching him how to sing without straining the vocal cords. This particular technique is called “covering”, and sopranos must do it as well.
@@DeniseCummins Denise, thank you for your comment. You are correct in that this is covering. As you know, covering in general is understood by most as modifying the vowel. With the Pavarotti method of singing from F# and above through the center of the vocal cords it allows vocalist to have a biomechancal feeling that with practice becomes very easy to reproduce. When singing through the center of the vocal cords there is a slight modifying of the vowel as a result of the vocal cords vibrating only in the center and not all the way to the ends. Denise, here is another video I did where I expand on this method. Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-109rz3hayCQ.htmlsi=eZVh8HiXf60_0JHj
Keep up putting fights. Your singing is that good that it could stand up alone - but it does not. You chose a sparring partner who is only beat, not very much of a rhythm. I think I learn about the difference between the classical and modern pop approach. I think in pop and rock the singer is partnering the rhythm in some swinging delay and syn-"cope"-slurrizing whereas in opera there is no ongoing interaction between competing rhythms. My guess here is that is the approach to rhythm - "slave to the rhythm" you might say, or not - that is a hidden basis for further definition of genres of vocal music. Thank you for inspiring the above, and, in case, never mind!
Everybody has A passaggio"???? This man doesn't even pronounce the word correctly. He knows absolutely nothing about the passaggio areas and how they are important. Pavarotti, like so many star opera singers, didn't know science. He sang like a pig. He had a magnificent native voice. "Pitch together"? Nice sound, by the way. Oh, my...Run, please run. What I DO like here is that when he makes that tight sound he does move his mouth and lips to assure, well, never mind. It would take too long. That is NOT technique. Corelli destroyed his voice. This is so upsetting. Oh, god, a vowel does NOT automatically adjust. Did he say, "Learn to sing to the center of the cords."???? Ignorant teachers should be arrested.
No, not at all. There are many different ways to sing. An example would be that there are some that say to not let the voice resonate in the mask and others that say yes resonate in the chest throat and also the mask. It's like tennis, Ferder er has a one backhand and Nadal has a two handed backhand. Both are right. The singer has to decide which method feel most natural and allows them to produce the voice with the greatest ease.
@@bboynewsboy991 with the technique that I use there is not shifting. As Pavarotti said the most important part of singing is to properly use the breath and the throat. The mask comes later. As far as resonance is concerned, you always resonance the windpipe, pharynx and mask on equal parts. The pitch is determined at the vocal cords....not the mask.
Fantastic video, but I have a question - does a person do that abrupt stop while warming up before coming on stage, or during the performance at a particular point during the song; how long do the vocal chords remain closed after that? Thank you very much!!
I'm glad the video helped you. Yes you would only do the abrupt stop during warm up. About 70 percent of the center of the vocal cords vibrate at the F# and that area that is still permitted to vibrate reduces as you ascend. At the point of the high C 5 you are vibrating approximately 50 percent of the center of the vocal cords. The sensation for the area of the voca cords reducing as you ascend is similar to when you whistle a medium note and them immediately whistle a hogh note.....you feel the lips slightly pucker and reduce the size of the opening for the higher note. Also, as you ascend there is a reduction of the amount of breath volume while the speed of the breath will be a bit faster for the high notes. Think of a garden hose and what happens when you put your thumb on the end and reduce the volume of water coming out. The water speeds up and shoots futher but there is less water volume coming out at that point. Here is another video I did on this topic. All the Best! Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-D6B6-erabW0.htmlsi=G2fklJ5-GZ8Kw3O4
Just a hint on video framing: always have your eyes in the upper part of the frame. You have too much "headroom".... wasted space between your head and top of frame
How can you tell you are in the center ? Is it like singing on the thin edges. You can hear the covering, but since you cant see, singing in the center of the cords is like the " vocal zipper" and pear shaped tones"- confusing metaphors.
Jef, Think of the sensation you have on your lips when you whistle a medium pitch note and then suddenly whistle a high note right after the medium note. When you do that you feel the lips pucker some for the high note. This is how it feels on the vocal cords when singing a higher note. You also feel the breath speed up a bit for the higher notes. I hope this helps. Here is Pavarotti explaining this also. Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-uo6dDQiBGyI.htmlsi=ieqMUQ-vjJlElwz8
I was just browsing the captions. I believe this is about using the thin edge function of the vocal chords in the middle register transition from heavy mechanism to light mechanism (chest voice into head voice) the idea is to reduce vocal weight in the middle for an easier transition. Staccato exercises for example are one way to train the thin edge function. I was also taught the use of the laryngeal tilt in the middle. It's not exactly the middle of the chords, but it's the point where one set of muscles of the larynx hands over control of the chords to another set. There's a lot more to this of course, but the overall goal is to sing freely without pushing your voice and prevent a sort of "tug of war" at the passagio.
Thanks for posting this. Thoroughly fascinating on technique. It would be very interesting for me to see what my vocal chords are actually doing while I sing through my passagio. The imagery I've maintained up until now is bringing as much of my head voice down into my chest voice as possible while keeping just enough chord closure as I can without baring too much pressure, so as to still be free and not be pinchy. I do wonder if I am integrating some of what you are discussing here in this video where portions of my chords at the ends may actually not even vibrating as I negotiate through this range. Here is a warmup clip of me singing. Let me know if you hear any of this partial chord closure mechanism or not. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-bv9tzgZojD4.htmlsi=jA-HbRN2h48Ed8N2
Paul, I'm glad you liked the video. Here is another video I did on the same topic. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-D6B6-erabW0.htmlsi=8-QJSW9gpznOSohY
Here is another video I did on this topic..Blessings and all the Best! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-109rz3hayCQ.htmlsi=CYrnlAFVgdvI1mg5
Hey thank you for the comment. Here is another video I did on this topic...I hope it is helpful as well....All the Best...Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-D6B6-erabW0.htmlsi=8pm4xL3xqrM_HaCG
Thank you. Mr. Pavarotti even uses the word “suffocation” in the HINES book. He’s implying that the passaggio is not a mistake of nature to be overcome or to go around or over or under. It is intrinsic in the instrument and you go through it. By opening the mouth a little less, you could experience this even more. Vocal security should not depend upon them off the mouth. I learned this from Leopold Simoneau and Lamperti.
Yes, at passaggio the mouth is slightly less open than before passaggio. Even for the highest notes the mouth should not be overly opened. Pavarotti and Bjorling were good examples of not overly open the mouth. Thank you for you comment. It is appreciated! Steven
Ross. Here is another video I did on this topic...All the Best. Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-109rz3hayCQ.htmlsi=eWuABqWpXBH9yHAS
I am originally a “lyric” baritone,never had a singing lesson before and found my way to the “high” tones much the same way Franco Corelli did, by imitation, by trial and error, by lowering the jaw and elevating the palate and never ever used the so called “covering” -if the term implies modifying the vowels-The italians call it “girare la voce” or turning the voice,maybe because the feeling is such.I was in my mid 30’s unfortunately, kind of late to properly expand the range, however from strained and weak F’s I gradually was able to sing to B flat convincingly and comfortably. On a good day I can hit B natural and there is the ocasional but not strong high C.The quality of the “chest” (I hate that term) mixes gradually with the upper register in an unnoticeable way and that is the key. Now you can go further and play with the dynamics going pianissimo Miguel Fleta style,for instance, and that is when you have mastered your voice.Scientifically explained this physiological process entails initially the thyroarytenoid muscles, then the cricothyroids together with the formers and at the end, fir the so called voce piena in testa or “head” voice the latter alone. There should be no mistery for the whole thing, just understanding, a decent guiding ear and practice
Wyatt, you are very welcome. Here is another video on the same topic. All the Best...Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-D6B6-erabW0.htmlsi=DV5DUVnAJijTbcEQ
If you had a stroboscope done while singing these 2 examples you'd find your vocals folds vibrating across their whole length on both. The trouble with the second one is the vowel you are using. The feeling you get of the "centre" of the vocal folds vibrating is actually an acoustic phenomena. It's because your first vocal tract resonance (or vowel formant) is sat in the middle of your first 2 harmonics due to the vowel you are choosing. The big wide vowel you choose for your 2nd example isn't resonating the harmonics the same say so you don't get that "centre" feeling and it's pushed and sounds nasty. But physiologically the folds are vibrating across their full length for both.
@@stevenburton7922 Thank YOU Steven. Your video is a great example of vowel choice determining vocal register and what some call turning or covering. You sound great. I have vocal fold paralysis and it wasn't until I understood this concept and trained it properly that I got my voice back and could work again. I have many stroboscopes done and have seen my folds working (or not working haha) in both the modes you explain. It's great to see someone demonstrating it so well. Of course Pavarotti was a singer and not a scientist so he described the sensation the best he could considering his vocal science knowledge and his English too. I think his description is a great way to get the sensation across.
@@davidphilipsmusic David, I'm so glad you overcame your vocal problem. For a singer musician that can be very emotional. I don't know if you have seen this clip of Pavarotti explaining his approach to the passaggio. He is the only vocalist I have ever heard explaining the center of the vocal cords to access the upper voice. A tenor by the name of Franco Corelli claimed to Mordare la voce or bit with the cords while singing high notes. But I don't know for sure if he was saying the same this as Pavarotti. Here's that link of Pavarotti on this topic: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.htmlsi=xC7tC8aAj_UjwYKq
Robert, it's good to meet you. I am going to leave a link to one of my modern styled songs for you. Click into the video description and down twards the bottom you will see my email address and other contact links. Hope you like this song. It has a bit of a Motown vibe. All the Best...Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-goiMY0xCTxU.htmlsi=lYaftBb3c-_3HTgf
unfortunately, i dont feel anything about my cords when singing. is it possible to develop this sensing ability? also abt the center of the cords, i just dont know where to begin with. cause i cannot feel my cords so i have no idea how to sing with only the center of the cords. anyways, it’s an amazing technique and this is my first time hearing about this technique as well, thank you for sharing ❤
Hey Nancie, it is good to hear from. It is funny in that some people can feel their vocal cords and others don't. I do believe that with practice you can develop the ability to feel them. Here is another video I did on this topic. I hope this helps....All the Best! Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-109rz3hayCQ.htmlsi=9SIjS6yGdTP1lY5q
Hey Nancie, Here is a video with Pavarotti sharing on singing the higher notes through the center of the vocal cords. Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.htmlsi=ZxGcZ3O-VnEYJSEb
Stephen, here is another video I did on this subject. I hope this helps. All the best! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-D6B6-erabW0.htmlsi=uOuNjo1nOUVCygDq
There is no such thing as "dramatic tenor training". This tells me you need a new teacher. There is singing. Your voice will tell you what it is if you learn the science first. See my notes above.
Just to re-cap... As we gove ,, higher" the vocal chord are more and more closed but... 👉 the diafragmatic support ( and mouth opening ) stays the same - perhaps just maybe with more diafragmatic activation 🤔 ( because the higher the note- requency the more vocal chord must vibrating = more air flows ) Is that correct Sir ? : )
Filip, For extreme high notes there is less breath volume going through the center of the vocal cords because the area of the cords vibrating is smaller BUT the speed of the breath increases. Think of when you put your thumb at the end of a garden hose...you reduce the volume but the water speeds up and shoots futher. Steven
Mr. Burton, thank you for uploading this video 🙏 as promised.... The explanation is great. 😊 I will try now to "tighten" my throat a little at the passagio ( F# ) and to try to feel that sensation of closing the chords a bit. It will take for sure time.... 😅 But I'm persistent and consistence person Sir. 🙃 Ps. It is noticeable that you have improved the editing of the clips itself, congratulations and just keep going to do the great work. 🙏 : ) Much health and all the best, Filip Pivec.
Filip, Don't tighten the throat. Think of only a very light and gentle pinching or stopping of the vocal cords at the ends and then let the center portion of the cords vibrate easily. In reference to you other question as you ascend and sing higher the area of the center of the cords that is vibrating reduces. So at B flat4 you are vibrating approximately 65% of the center of the cords and at C5 approximately 50 percent of the center of the cords are vibrating. It is similar to the sensation of whistling a middle note and then whistling a high note. You will feel there is a smaller hole for the higher note. Also notice when you whistle a higher note that the breath going out of your lips is moving faster with less air volume than it is for whistling a lower note. Singing is very similar....Steven Filip, here is Pavarotti explaining the center of the cords as well. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.htmlsi=fG7kOn0sGL1JOuc5
@@stevenburton7922 Thank you Mr. Steven. 🙏 I definatly feel the difference ( in throat size- and speed ) when whistling first the lower and than the higher note, but the difference is so discrete 😅 (minimal) - barely perceptible. And through that I suppose to sing, correct? 🙃
Thanks, Mate! This technique I learned from Pavarotti makes those high notes easy. Pavarotti was a real Jem! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-109rz3hayCQ.htmlsi=Y1HPpPyrkN_E5qyp
thanks for that! I´m a professional singer in musical theatre. this method is a completely new access to my passaggio, I basically have a good height, but its never effortless. I´ve been practicing this method now for a few weeks. Once I get it, I can feel how easy it is to go up. Right now its hard for me to repeat that way of singing, some days it works, other days I don't really get it. but I keep working :)
Oliver, thank you for the comment. It took me about 6 months for this to become natural. At the time I had never heard anyone suggest approaching high notes in this manner but Pavarotti was right. It makes going to the high notes extremely easy. Here is another video where I discuss this method futher. All the Best! Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-D6B6-erabW0.htmlsi=M3LMPmWIYvvuH3Mt
Piotr, here is another video that I just released. It explains an exercise that may help you develop the ability to feel your vocal coeds. It is interesting that many singers can feel their vocal cords while other don't feel them so much. I hope this video helps....all the best! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-109rz3hayCQ.htmlsi=SANTdyeD5pge5BmJ
Here is Pavarotti speaking on the center of the vocal cords vibrating. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.htmlsi=DYK6dna3hGGqshBv
I remember Pavarotti in some other video saying "...after twenty years" (is it a pun on vento? Venta - nni ... never mind!) as you referred to even thirty years. - This made me think about the acting that sure comes after the sheer capabilities of trained chords. The beginner's spirit tends to focus on the fact to be able to do the high note, at all. What this video seems to have brought home to me is "not to mention it", not to pay attention on what you can do as you must instrumentalize it, so to say, to say something. If you do not say something it's rude, shouting and noise, what I still do btw, but there are very basic emotions, on the other side. Very good video. Very good singer.
Peter, Thank you for the comment. I am posting another video expanding on this Pavarotti technique. It should be posted by tomorrow...Blessings to you my Friend! Steven
Amazing explanation! This also applies for baritones? When I was in colleged they make my voice very heavy and overdarked. They say im a baritone but I feel my passagio around F and sometimes F#. What should I do?
Yosean, Thank you for the comment. If you are a baritone then you would feel your vocal cords tell you to switch to the center of the vocal cords at E flat 4 or E natural 4. A tenor feels this at F or F#4. Listen to you body. I will be posting another video on this subject in a few days...keep an eye out for it. This technique allows you to produce the right sound for many different music genres. Here is a Motown style song I posted a few weeks ago. The highest vocal note is B4. Blessings to you my Friend! Steven ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-goiMY0xCTxU.htmlsi=F--JJwMxWaF5-adw
Great video Sir 👏👏 I'm a Tenore and struggling a little bit with higher Notes. 😅 Do you have Sir maybe some exercise - that we can applie and how we can feel the difference ( safely ) when just the middle of the chords vibrating and not the whole ones. - That feeling, how to connect. : ) Thanks in advance. 🙏 Best regards, Filip Pivec.
Filip, I'm glad you liked the video. I will be posting another video this coming week were I discuss finding or feeling the center of the vocal cords. Also, this technique works for all music genres, from opera to rock and more. Here is an original music video I posted about two weeks ago. Highest note in this song is a B4. It's very easy to reach those notes with this technique. I hope you enjoy the song. Blessings to you and you Family! Here's that song, Come My Way: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-goiMY0xCTxU.htmlsi=dHb5w_W3anCkbOOM
Thank you Sir for the answer. 🙏 I just heard the song ,, Come my way " it makes me feel great : ) and the B4 you sang was totally effortless 🤲😅 - guitar solo is also stunning. Overall Sir, you have a great yt Chanel, we can learn much from you- an you just got a new Subscriber. ☝ Ps. I can't wait for the new video about the vocal chord subject. 😊 All the best, and a nice day, Filip Pivec.
Hey Tony, good to hear from you! Tony here is an original music video I posted about 2 weeks ago. It is contemporary in style . Come My Way, ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-goiMY0xCTxU.htmlsi=dHb5w_W3anCkbOOM
Hi Steven. Just watched it and I just wanna say that is a beautiful tone and ive been looking for that placement for quite some time now😂 Please let me know if you are available for lessons anytime soon💪🏼 Thank you
Jaafar, I will be posting another vocal technique video in the next week. I wanted to give you a heads up. This technique works for all music genre from oper to rock and more. Here is an original music video I posted about 2 weeks ago. The highest vocal note is a B4. Here's the song , Come My Way ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-goiMY0xCTxU.htmlsi=dHb5w_W3anCkbOOM
best d5 heard..even freddie mercury was very metallic and squeezy in c5,d 5..your high notes are great! p.s sorry for bothering you..but..d you erased my comment? i remember maybe bad..great man keep yourself aluce!
Vine, Thank you for your comment. With this technique you resonate in the windpipe , throat and mask always regardless of where you are in your range. The pitch is determined at the vocal cords. Pavarotti would point at his throat and say "the sound is from here (pointing at his throat) not the mask. What he meant was the sound originates at the vocal cords and the resonance comes from the windpipe (chest), throat and mask. Steven
I was a Baritenor and not one of my teachers ever dicussed passagio at reputable music schools Boston University,New England Conservatory I was a kid and these professionals did nothing to help me.
John, I had a similar experience at some Ohio universities when I was younger. In fact what I learned at the university level actually hurt my naturally broad range. At that time, there was an infatuation with getting the voice in the mask and that's all there wasis to it,so they said. That turned out to be very untrue. So I stopped listening to what the universities had to say and I started listening to what actual great singer's had to say and it changed everything for me. The Italians say you have to know how to use the breath and the throat first and then the head resonance comes later..The Italians are right! This center of the cords at passaggio and up technique will let you sing anything with ease. Much of the singing I have done has been Operatic but I sing folk and rock as well. Here is a song I wrote and recorded and I'm just now releasing it to the automobile industry for marketing purposes. This gets pretty high. There is one D5 in it. Again, this Italian technique allows the voice to produce this with much ease. Thanks, John...here's the automobile marketing song. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-sojac_zhHbw.htmlsi=2exclFnsiQYjTAGP
John. Try this link for the song. I'm not sure where the other link came from. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-sojac_zhHbw.htmlsi=LGLYhPgIZfKtGIS9
How does someone like you who speaks at a resonant F2 or so be able to sing this high? Did you start out singing tenor or did you start out singing in a lower fach?
That's a good observation. I don't speak as high as a lot of tenors. Perhaps it is because I by tenor standards am a fairly large guy. I'm 6 '1" I 46" chest and a really long neck. When I wear a helmet of any sort, motorcycle/bicycle, I have to wear a xxx large to xxxx large . So that may give the speaking voice added resonance. There are physically large tenors that speak a little lower like I do(Melchior) but the singing voice is clearly tenor. Perhaps it's a regional thing also. Melchior was Danish and I'm half Scandinavian also (Swedish/Scott). If you heard me speak in person though, my speaking voice doesn't have the mass of tone like a baritone. Very good observation on your part....Steven
