High Notes and Vocal Technique: Passaggio #1, Pavarotti Method 

I always thought, for example, that Joan Sutherland covered. It doesn’t seem like a men only technique.

@@johnhoie1 Unfortunately, it is only a mechanism for men. What women do is girare.

@@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

Preston ...Thanks for sharing your kind words. This approach to the high notes works for all genres...Opera, Rock, Folk, etc. All the Best my Friend!

John, thank you for your kind words. I'm glad that the video has helped you. Voice lessons can be expensive and they can be helpful. But many singers are self taught like Franco Corelli which proves you can do great things with a love and determination for your art! Listen to your body while your vocalizing. When the voice is working well there is no discomfort in the body. So if the voice is coming out freely without undo tension the technique is good. Strive for that. Keep checking my channel as I do post new instructional videos from time to time. Steven

Wooww Franco Corelli is self-taught?! Now i'm more inspired, i have one question, did he learn through books only?

@@johnluisnapoles1210 I have read that he would listen to other great singers and imitate them. He would also say things like, you have to study yourself, your body and keep the tongue supple.

Alright thanks sirr

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

Geo, sorry for the delayed response. Here is Pavarotti himself teaching this technique. All the Best! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.html

Goggalor, the trick to singing through the center of the cords is that you don't squeeze the end of the cords together so that you can then sing through the middle. Rather that bringing the ends of the cords together is gentle so that the cords stay very relaxed at the end where they are touching and more importantly in the center where they are vibrating. Pavarotti himself said that when he first started with this technique that he over squeezed the ends of the cords. It is done very gently. Pavarotti also said it's like the trumpet player makes a smaller hole with his lips for the high notes. Stay in touch my Friend!

David, thank you for your comment. Here is a link of Pavarotti teaching the technique that I mention in my video. Its really his technique. I've have never heard another singer mention singing through the center of the cords at passaggio and above. I have heard of many singers saying that you should round the vowels at passaggio but Pavarotti is the only vocalist I have heard teach this center of the cords technique. I can tell you that once you get a feel for it, it makes the high notes incredibly easy with no fatigue. The sensation is one of ease, going from the full length of the cord up to E for the tenor and then to the center of the cords at F and F# and above. Here is the link. Steven from Ohio, USA. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.html

David, thank you for your comment. I listened to few of your videos......good stuff! Steven

@@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

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

Replying to remember this comment

Hello, James. Yes, with this technique the vowel does modify as a result of going to the center of your vocal cords. I don't consciously modify the vowel but because of the reduction of the amount of the surface area of the vocal cords that is vibrating at F# the vowel would go from Ah to a mix of Ah/OH. As you go higher I would say there is the tendency that you would go from Ah to a mix of Ah/OO(moon)....just a little of the OO added though. Again, for me I don't consciously modify the vowel. The change or vowel modification is the result of going more towards vibrating the center of the vocal cords. A good way to feel the center of the cords sensation is to do a scale, F#,A#, C#, F#(octove higher than the first F#). Once you reach the higher F#...abruptly stop making any sound at all. When you do this notice how the vocal cords tighten slightly at the ends but vibrate in the center. Now do the same scale again and sustain the higher F# this time. This should give you the sensation of what it feels like to feel the center of the vocal cords. This this vibrating center then reduces from about 70 percent vibrating vocal cords at F# to about 50 percent vibrating center for the high C. Steven Here is Pavarotti demonstrating this very technique. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.html

Darius, I used to just round out the sound going from F# to G but when I added the Pavarotti singing through the center of the strings...I would say that took me about 6 months to figure out. When I was first attempting this I over did it. Meaning, I was really puckering the vocal cords...where as it should be a very relaxed puckering of the vocal cords that allows you to go to the high C and above easily. It is all very relaxed....Steve

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

Jen, Clearly you are knowledgable on the various types of vocal production. You are right, there are advantages to each type of vocal delivery. For me, from an early point in my singing I was aware of rounding the tone and lowering the larynx. What was revolutionary for me was Pavarotti suggesting that you could sing through the center of the vocal cords at a certain point in the range. Once I figured out how to do what he suggested, singing became incredibly easy for me. You are right too in that some listeners prefer open singing and other listeners prefer covered singing. I guess for me I prefer a proper amount of covering that allows for a good balance of the "chiaro e scurro". I don't like an overly dark/fake sound. As you know, that type of vocal production doesn't project in house. Great, observations on your part, Jens. Thanks for your comment and please stay in touch! Steven

The properly covered sound is where resonant and robust squillo comes from. The keyword here is properly covered, not darkened by way of ingolata which cuts off squillo. The properly covered sound can be heard in the likes of Corelli, Del Monaco, Giacomini, and Martinucci, all of whom covered properly by employing the Melocchi method (except Corelli mixed it with his own approach as well). The current tenor who sings by the Melocchi school (although not exclusively) is Giancarlo Monsalve. You can hear the glorious old school sound in this guy.. Just listen to his rendition of Otello's Dio Mi Potevi Scagliar ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9prXgSjxYsE.html

Kaufmans technique is awful; he makes a horrible noise

@@runnahir I watched him a few times, he is a nice guy. However, the sound he produces is obviously not to the liking of many, me included. Sound and singing style haven't earned him an international career.

Rafael, Thank you for your comment my tenor Brother! Blessings to you and your Family! .....Steven

@@stevenburton7922 My pleasure. Many blessings for you and your beloved ones.

Rafael, I am familiar with the Melocchi technique and Del Monaco and Corelli (indirectly) being proponents of the technique. And I too am definitely a proponent of the lowered larynx to a degree. I like to have the larynx low but not down to the sternal notch. For me when the larynx is to low the voice becomes overly dark and may seem massive in a small room but doesn't project well in an concert hall. The sound is to muddy. To my knowledge, Pavarotti is the only singer I've ever heard say to sing in the center of the cord at passaggio. Which works great for me. To your knowledge, did Melocchi teach the center of the cords concept that Pavarotti speaks of? Thanks my Friend! Steven

@@stevenburton7922 Hello Steven! I have a whole channel dedicated to the Melocchi method: Tecnica Antica. The Affondo technique is very similar indeed to that of Arrigo Pola ( Pavarotti’s teacher ) in terms of covering the sound. However there are many differences in the sense that Melocchi singers use the pharynx as the main resonator and the larynx must be “tilted” or “lowered” to achieve this openness of the pharynx thereof. Not all Melocchi students sounded like Del Monaco nor Corelli. Look for Paride Venturi and you will be surprised! It is a very healthy approach if you don’t abuse it! All the very best my friend!!! Be in touch!!!

@@rafaelvazqueztenor Thanks, Rafael. I will check out your channel too!

I'm so glad that it helped. Keep practicing this and it will in time become automatic. It makes going to the high notes effortless!

Kenneth, great question. Typically for me I go to the center of the cords at F . At this point about 70 percent of the cords are vibrating in the center not at the ends. The E natural before the F would have been the entire length of the cords vibrating. As you ascend from the F you would reduce the area of the cords vibrating incrementally so that at high C you are vibrating about 50 percent of the cords in the center. As far as the term head voice, with this technique you use the resonace of the windpipe(below the cords), pharynx, mouth, up behind the back teeth, above the roof of the mouth, behind the nose(not in the nose)up to the forhead as continuous resonace. The voice exits the mouth. .No drifting resonace. This entire area is vibrating in equal parts regardless of pitch. There is no need to feel the voice only in the head to make a high note with this technique. The pitch is created at the cords and for the high notes it is the reduction of the area vibrating on the cord that makes the pitch rise...kind of like whistling...more of a pucker for the higher whistling notes. This pucker at the vocal cord is done very lightly. No grabbing. The resonace with this method is like an accoustic guitar. No matter what string you pick, the entire body of the guitar resonates the tone or pitch. Pavarotti and Corelli would insist that they didn't sing in the mask but yet they both sensed the voice vibrating up there as well. They were using all the areas of resonace mentioned above regardless of pitch...Yes this is different than many techniques in that regard. Kenneth this will work for folk and rock music as well. Here is an original that I did. First section is folk style and the second section is rock. Notice I'm not making an operatic sound here either. This technique allow for many different vocal colors. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qTLkvVizHIo.html

@@stevenburton7922 Thanks for your response. I agree, there is a lot going on when I am able to do this. I feel like my chords are vibrating in the lower part of my neck near my collar bone, some mask sensation, as well as some sensation going back toward my soft pallet, and also supporting with my body. It’s a lot, yet when executed the notes feel supper easy. So I assume the transition eventually becomes second nature? I currently have to think about it in order to make the change. Also, I feel like I have to sing not as full in the low and upper middle to get to the high. Yet in your original song that didn’t seem to be the case. Thanks for sharing that by the way, it was a nice piece. Also fun to hear you go through different registers. I’m guessing that it all just takes time and practice.

@@kennethkjellander9506 Kenneth, Yes in time as a vocalist you can start thinking less about the technical aspects of singing as the muscle memory directs the voice after some time. This allows for more focus on interpretation etc. Also, yes the cords vibrating sensation down neart the bottom of the neck is where you want to feel source of the sound regardless of the pitch. Just don't trap the sound there, let it resonate in the areas I mention in the last reply. With this type.of laringial technique the voice always have that ease of production/float to it. The instrument is always relaxed. This technique also allows for a hudge variation in color. Here is an aria....notice how I'm not making the lite tone that I did in the original that I sent you. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2BOiHdxRnLE.html

@@stevenburton7922 Thanks for sharing Steve. Very full sound, very enjoyable. 😀

@@kennethkjellander9506 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.html

Hey, Crazy Singing Asian....I like that name! In general, there is that very gentle yawn..Pavarotti said to use normal space as opposed to making giant space. In the video when I mention at F and F#, (the passaggio) it is the very end of the vocal cords that gently come together. At the F about 70 percent of the vocal cords in the center are vibrating in the middle. So then about 15 percent of the vocal cords, the two ends stop vibrating. The 15 percent (times 2 for the Two ends) that is no longer vibrating are gently not vibrating...meaning don't over squeeze the ends of the cords to stop them from vibrating. To sing higher from there, just keep reducing the percentage of the vocal cords vibrating in the middle. A high C for example would have about 50 percent of the cords vibrating in the middle/center with 25 percent (times 2 because there are two ends= 50 percent) of the vocal cords not vibrating at the ends. I hope this helps Crazy Singing Asian

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

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.

@@FilipPivec Thank you, Filip!

You are welcome my Friend. Thank you for your comment. Steven

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

Dynamo, You are correct in that many techniques say you should feel nothing in the throat. Her is Pavarotti explaining his technique. Corelli vaugly mentioned this as well in an interview with Jerome Hines. Here's the Pavarotti video ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.html

@@stevenburton7922 thanks for following up! I’ve seen that and wondered if you were referring to that, but he sounds like he is surmising where they vibrated and doesn’t specifically reference “feeling” his vocal cords which I don’t believe it possible (although I’m certainly open to being corrected - it’s just I don’t think they have nerves with which to “feel” -?) thanks for your video! You have a great voice!

@@Dynamofoe Dynamo. I've heard others say they didn't think that the vocal cords have nerves to feel as well. For me I could always feel the cords while singing. It is actually a very relaxing sensation. Also, if I get one drop of water on my cords not only do I cough incessantly but it burns terribly as well. ...right on the vocal cords...not pleasant at all. Perhaps it is an individual case by case circumstance where some have the ability to feel the cords and where other can learn to feel the cords? Another example of some having the ability to sense a sensation would be snowboarders. I've talked to snow boarders who do rediculase amounts of spinning and flipping in the air. I ask them how they can land safely all the time and they say that they can always sense where the ground is! Some just naturally have that sense of awareness and others said they learned that awareness on trampolines.

@@stevenburton7922 alrighty then! I I’ll never argue against one’s personal experience, so that’s awesome! 😎👍🏼

No, I would say there is no zipping or damping. The sound projects extremely well. I would liken it to the difference between whistling a low note and then immediately whistling a high note. You would feel the lips gently pucker more for the high note. This is all done very gently. The cords are always relaxed. No grabbing. Here is Pavarotti demonstrating the technique. All the Best! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.html

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.

@@stevenburton7922 Would you have any advice on a male voice, that on higher keys, begins to shift way too much into the mask?

@@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.

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

Catalina, You have made good observations in that not every vocalist will feel the same sensations. Actually, I believe there are many different ways to sing. Pavarotti said to use normal space before and after the passaggio and to make less space in the passaggio. Other singers say to make more space in the passaggio and then even more space as you ascend up from there. You are right when you say you have to find what works for you. For me this technique works well. I believe it does because I could always feel my vocal cords easily. It is a very strong sensation right on the cords. Some singer claim they can't feel their cords at all. Catalina, Thank you for your comment. All the best!

Aion, Thanks for your comment. You are right that the Ah turns to more of an Oh at the F, F#. There are definitely many different ways to sing. The one I use is an Italian approach used by Pavarotti, Corelli and others. Here is a video of Pavarotti teaching the center of the cords technique. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.html As far as being able to feel the vocal cords I can say I definitely can feel my vocal cords with great clarity. Although I have talked with vocalist that say they can't feel their vocal cords. Corelli said that as he ascended the scale he would employ more "mordere la voce". Or bite the tone with the vocal cords. This sounds harsh but it is done very gently. I have heard many say that Pavarotti and Corelli sang with a very modern technique while Bjorling and Caruso sang with the older classic technique. Both are very good techniques. All the best!

And all the best to you sir. Maybe I don't agree with your approach here on this video. But you can clearly demonstrate the sounds. I'm sure students can get results from private tuition with you, I just consider this video a bit "misleading" for beginers.

@@aionlover3981 Thanks again for the comment. There are many ways to sing. Some like the covered sound and some don't. But that's ok . Its music and it's all good. All the best!

Jaafar, Thank you for your comment. I don't currently give lessons. I appreciate you asking. I may in the near future add more vocal technique videos.

@@stevenburton7922 Hi Steven. You are very welcome. Ok no worries, perhaps some day then🤲🏻

@@stevenburton7922 Looking forward to those videos!

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

Yes, it is a major factor. Pavarotti said that to sing well you must know how to breath and how to use the throat. He then said resonance comes later.

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

Great job on "On Days Like These " Bravo!

@@stevenburton7922 Cheers its my friends favourite and I learned it for him. I've been singing for 45 years doing allsorts but as a semiretirement project, I'm street singing and loving it plus the fresh air is wonderful for the voice.

@@haydenharris3059 That's cool, Hayden!

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

Jef. Check this out. Pavarotti demonstrates the center of the cords. He is the only vocalist I have heard mention this. All the best! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JIVs9FZ8sQ.html