IL PASSAGGIO 

Saludos des de los ángeles california maestro gracias por compartir este audio video es de mucha importancia para mi gracias.

madre!!! siempre he estado en un error! yo creía que esos agudos suabes era la mezzavoce... algo que nunca he podido hacer... y ahora veo que es falsete!, claro que sonoro, limpio, trabajado... que bello! maestro algunos ejercicios para trabajar el passagio... por favor...

Hola muchas gracias por tu conocimiento Hay ejemplos con baritonos ?

Y en mujeres? u.u Como seria respecto a ello

Iniciando o canto com a laringe baixa, há passagem? Poderia mostrar exemplos de passagem na voz de barítono .

Si senor. Alguien que sabe.

It's a mistake to say there is no passaggio. A mistake with serious pedagogical consequences to young voices. There is a clear change in mechanism when you go up for all the voices. The cover is just a way to disguise it, and even so after proper muscular development, i.e., a lot of training. I think the author of this video takes the effect for the cause. The fact of a consumate artist being able to sing homogenously throughout the range and give the illusion of singing in the same way from bottom to top do not elude physiology. The passaggio is there and in a very bad day may manifest its instability, even for top professionals. Most tenor voices have to be built. Even "natural" tenors usually have problems singing a high B or a high C. It's common young singers not being able to sustain a high tessitura, because they have to learn that the way to use the folds from F up is different; the adduction is firm but much more subtle, slender, it should drop the weight of the voice. So, one has to spend a long time developing his head voice first, which many don't because of stupid teachers who teach bullshit like putting the voice in the nose and pushing the voice up to the limit, with the same mechanism of the lower notes. The pupil has to be encouraged to diminish the muscular bulk of chest voice and only descending scales in the "dreaded" (by ignorants) falsetto can make it possible, bringing the high section of the voice to its full development and integretation with the middle and lower voices. Frisell, Herbert-Cesari and Reid were absolutely right about this. And the old masters - like Delle Sedie, Garcia, Panofka, Cotogni, Persecchini, Rosati - who really built voices from nothing, knew it too. Many tenors, like De Rezke, were classified as baritone by ignorant teachers, who made their names usually picking some talented students and not harming them, while dismissing as untalented students who needed muscular development they couldn't provide as untalented and unworthy. Teaching singing is a branch of activity where little or biased knowledge supposedly received by "tradition" or "science" may be as harmful as no knowledge at all. The great Birgit Nilsson used to say you get your big sound from your small sound. Mastering the messa di voce note by note is the only way to have a homogenous voice.