faq: voce faringea - pharyngeal voice (secret of the bel canto tenors' brilliant high notes)

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The voce faringea aka pharyngeal voice is a forgotten historical singing practice developed by the great tenors of the bel canto era. They used this special technique to extend the upper range of the voice whereby the falsetto, typically a soft and often “feminine” sound, was modified by the singers into a more powerful and tenor-like vocal timbre. It was often described as an intermediate register or a special mechanism connecting the falsetto and the chest register. Exceptionally high tessituras in the operatic tenor repertoire of the Bellini-Rossini-Donizetti era, present strong evidence for the importance of this special vocal technique for the great tenori di grazia.
Website on the voce faringea / pharyngeal voice: www.voce-faringea.com
Physiological and acoustic analysis (VoceVista):
voce-faringea.com/en/analysis-...
voce-faringea.com/de/analysen-...
Scientific studies on the voce faringea / pharyngeal voice:
1. Research paper: Journal of Voice, (author: Alexander Mayr)
DOI: dx.doi.org/10.1016/j.jvoice.20...
Published March 2017: Volume 31, Issue 2, Pages 255.e13-255.e23
“Investigating the Voce Faringea: Physiological and Acoustic Characteristics of the Bel Canto Tenor's Forgotten Singing Practice”
Preprint version: voce-faringea.com/en/investiga...
2. Research paper: in the dissertation “Die Voce faringea, Rekonstruktion einer vergessenen Kunst” of Alexander Mayr - English translation, (author: Alexander Mayr)
“Parameters of Flow Glottogram and EGG for Vocal Registers - Modal, Falsetto and voce faringea” voce-faringea.com/en/parameter...
Book (in German):
"Voce faringea: Eine Kunst der Belcanto-Tenöre, Geschichte - Physiologie und Akustik - Übungen" (author: Alexander Mayr)
© 2018 Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Kassel
www.baerenreiter.com
ISBN 978-3-7618-2468-9
www.baerenreiter.com/shop/pro...
www.amazon.de/Voce-faringea-B...
References (bibliography): cutt.ly/nnVLVtN
Journal article (in German):
"Die vergessene Kunst der Belcanto-Tenöre" (author: Alexander Mayr)
Vox Humana, 12,2, Juni 2016, 34-42
voce-faringea.com/de/die-verge...
Inhaltsverzeichnis:
00:00 - Einführung
01:26 - What is the voce faringea?
02:06 - Sound samples of the voce faringea
04:19 - How & where can the vf be applied?
04:42 - What are the benefits of this technique?
05:39 - Where does this strange name come from?
06:43 - What are the historical facts of the vf?
10:35 - Why was there a need for the vf?
12:12 - The vf and the aesthetics of bel canto
13:51 - Why was the knoledge about the vf lost?
15:14 - The physiology and acoustics of the vf
21:47 - The pharyngeal voice in CCM styles?

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28 июл 2024

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Комментарии : 21

@XPRT10R 2 года назад

Very exhaustive, specific and precise. Highly informative. Thank you!

@downfromkentuckeh 2 года назад

Duprez screwed everything up for us for over a century XD

@LornaKellyZim 2 года назад

This helped me more in one viewing than all the hundreds of so called vocal pedagogy clips on RU-vid. Thank you!!!!

@raphpitts 2 года назад

That was a fantastic video, thank you very much for improving my understanding of the pharyngeal voice! I really appreciate it :)

@thomasmartin369 3 года назад

Thank you for this video Alexander: meticulous and most informative! I’ve been leaning in this direction for a while, not feeling fully satisfied by the expressive possibilities offered by the verismo-derived chest-dominant ideal that permeates modern singing and teaching (well, either that or a rather insipid “lightened” sound without much cut or presence). I understand from your video that you are a teacher and I would love to study this with you if you teach online and have the space and inclination!

@bobbyashrimp Год назад

“The dark side of the Force is a pathway to many abilities some consider to be... unnatural.” ―Palpatine 🤣 My throat hurts just THINKING about trying this. Steve Erkel talks the way someone needs to exercise to get the pharyngeal voice. "Did I do THAAAAAT?!" Your voice is amazing Alexander.

@Alex.M.T.S 7 месяцев назад

Wonderfully explained! Thank you very much! :)

@alexdow8042 Месяц назад

🔥🔥🔥🔥🔥

@Tagoreapoet 8 месяцев назад

Thank you.

@brucebrewertenor771 3 года назад

Interesting ! This very high register is also a matter of air and breath support.

@jazznotes3802 2 года назад

Now I see that the SLS vocal technique (developed by Seth Riggs) is more in line with the original Bel Canto pedagogy, where there’s a even balance of the vocal register’s, through the use of the pharyngeal voice, that helps with the strong sounding high notes. I guess this is why many big sounding male tenors can’t sing good in their pure head-voice (falsetto) and tend to hit their vocal limit around the tenor high C. It was said the Adolphe Nourrit suffered with mental health declined and after much effort to engage in the new style, (Gilbert-Louis Duprez’s Chest High C) the tenor jumped to his death from a window of the Hotel Barbaia in Naples. But Duprez too, suffered his own consequences. Because the great number of performances he was engaged to and probably due some forcing of his singing, his career was short and he lost his voice.

@downfromkentuckeh 2 года назад

you are EXACTLY correct, after MUCH research I have come to the same conclusion, and actually fear the possibility that we as singers were never supposed to sing works such as verdi's Otello with its huge orchestra, in HUGE theatres. Having travelled the world and gone to various opera houses, I have noticed that American theatres tend to have multi thousand seats, where as European Theatres tend to limit to about 2000 seats, often though max out at about 1500 seats. No wonder verismo music ruins voices in such a short amount of time.

@ZENOBlAmusic Месяц назад

@@downfromkentuckeh Where are these verismo singers? They certainly do not exist today. The singers of today does not sing with a verismo technique. Verismo came from bel canto, they are not completely alien styles. There is a whole recording archive of dramatic tenors singing Verdi for years from around 1900 - 1970. There are singers who sang Otello hundreds of times. These singers used to exist. Human evolution have not changed that much that dramatic tenors should simply have disappeared.

@janosklotz9509 3 года назад

Sehr gut und nützlich Danke !

@harrilmullany2786 2 месяца назад

So what does it sound like??

@flaze3 2 года назад

Thanks for this video! Very informative. If I understood you correctly, did you say that the epilarynx narrowing is responsible both for F2-H3 coupling AND for SFC?

@alexandermayr5212 2 года назад

The AES helps to establish the SFC and (according to Gunnar Fant) a decent narrowing of the pharyngeal space (by lateral approximation of the pharyngeal walls) boost the 2nd formant and increases the its frequency. The coupling F2/H3 is also depending on the vowel color (tuning the 2nd Formant to one of the harmonics - a typical resonsnce strategy for tenors).

@flaze3 2 года назад

@@alexandermayr5212 thanks for your answer :) - very informative!

@rapsodie1211 2 года назад

Frissell "The tenor voice" too

@ZENOBlAmusic Месяц назад

No one wonders why these operas ware produced with higher notes, everyone knows it was done with reinforced falsetto. This technique is fine for a leggero tenor. But orchestras are much louder these days. You are certainly not going to sing Verdi or Wagner with this technique, and that is the real issue. There are hundreds of professional leggero tenors these days, but there are no dramatic tenors.