In this discussion, we have to remember that there are many different ways to sing. Some vocalists will say that they switch to mixed (chest and head) voice at F , F# , while others say that they dont sing in the mask/head at all. In interviews with Stefan Zucker, Corelli would insist that he didn't sing in the mask. Gigli, said that he didn't like to teach others to sing because he himself barley covered his tone, yet he could sing all day without harming himself. Pavarotti said that at F, F# that his vocal cords only vibrated in the center...not at the ends. Pavarotti is the only vocalist that I've heard say this. Caruso said that when he would inhale that his stomach went in and then a contrary motion on the exhale when he was singing.... others say the exact opposite. It's like in tennis, Federer has a one hand backhand and Djokovic has a two hand backhand. Who's right...they both are. The truth is, there is more than one way to do something. You have to discover what works best for your body. And there is no need to attack other who use a different technique. Getting back to tennis. Federer said he uses the one hand backhand because his back wasn't flexible enough for the two hand back. This same logic can explain why some singers indeed use the mask on higher notes while other don't. Sometimes our bodies will steer us in the direction of the most suitable biomechanics for us. We must be diligent and listen to our bodies so that we choose the technique most suitable to our physical makeup.
@@tonysilva9458 Thanks for you kind words, Tony. I just watched your video on vocal production. ......You my tenor friend are a singing machine! Yeah! Well done, Tony! Well Done!!!
After much vocal study I have to agree. I’ve discovered some tenors practice vowel modification through the bridge (e f f# g) while staying in chest voice. (e.g: they call it stretching chest voice with head resonance.) Others bridge into their head-voice (like reinforced falsetto) and build this into a mixed-voice over time. It’s like some build the voice heavy, from the bottom up and others prefer to build the voice with a light head-voice first, then connecting it with chest-voice and then building strength into the sound, safely over time. What works for one will not always work for another. So do what works for you.
@@helmutdienstmann9696 man hört es beim ersten Ton den er singt, schon in der tiefen Lage macht er eine Art Passaggio, singt o statt a seine Stimme klang kurz hingehört ganz schön, aber sie war nicht frei.
I find it hard to believe that before 1830, no male singers could sing above the passagio range in full voice. I hear male vocalists doing it in other musical genres all the time...and those musics tend to have old roots, such as eastern music. Perhaps it was simply not UNDERSTOOD in a way where they could teach the technique until that time in the west, but for sure people were doing it.
I’ve done a decent amount of research on Italian and French Baroque music for Tenors as part of my Master in Musicology. I notice that the overwhelming majority of Italian arias have the highest written note as G4. The tessiture is quite Baritonal or calls for a more frank, « chesty » singing (D3-G4 usually). It is only with the generation of singers like Angelo Amorevoli (who never went below C3 or if he did, hardly) and Gregorio Babbi (whose tessitura went as low as G2) that we ever see Tenors sing more from Bb4 upwards (the earliest C5 that I’ve found is sung by Francesco Cignoni, an older singer, in Giovanni Porta’s Ifigenia, 1738). However, there are some arias for Giovanni Buzzoleni and Antonio Borosini (fl. 1680 - 1714) that go up to B4. So like I said, the G4 is a general limit. As for the French, overwhelmingly the preferred Tenors were the Haute-contre, whose singing were criticized by Italians as screechy, and whose tessitura may sometimes overlap with a Contralto castrato’s. I’ve sung a good amount of music for them and to be honest, it would be very difficult to sing them with your Rodolfo or Calaf chest voice. They most likely used a head dominant mixed voice throughout most of the range (or a lightened chest voice). For comparison, listened to Caruso’s interesting rendition of « Bois épais » and compare it to Cyril Auvity’s (which is in period pitch, one step below the modern one).
@XDranzer000 I believe dramatic tenors and Bari tenors probably have their passagio at C4 and F4 usually. We all know passagio is different individually even for same tenor types.
@XDranzer000 I'm not a classical singer but I know by passagio is Eb4 and Ab4 which is high tenor or leggiero tenor in classical singing. Maybe you are a light lyric tenor.
@XDranzer000 same with me i can project g2 but not f2 and i thought i was a baritone cause of a nice resonance but when started learning and developing upper register and using correct technique (before i was lowering larynx just for involuntarily) i noticed a ping developed and found my primo passagio at c4 but still my voice was breaking at Eb4 just like you but when i tried lightening i was able to go to f4 without! also i have this really bright extension to Eb5 which is not falsetto as it is really intense! i think i am also a leggero because i have heard their lows are baritonal but have high upper extension!
This is a part from a BBC documentary mini series about the origin and development of the operatic voices. This is "What makes a great Tenor", and there was also "what makes a great soprano" presented by the famous soprano Kirite Kanawa.
THat bridge or passaggio lies at the wrong place when we use A4=440-442Hz (12-TET). Donizetti, Verdi and Puccini should be performed at A4=435Hz (Former European pitch).. There is too much early register shift at 440-442Hz. Want to get really smooth register breaks,, Try Verdis suggested A4=432Hz (12-TET)
The pasaggio in Bel canto, not means a change in the voice or in the fonation. but a change in the resonance space we are using. When you can use the diferent boxes of resonance we have, Pasaggio not exist.
Joshua 윤호 Han that’s not a reason for his flaws ...... falsetto needs to be learn even if you are or not a countertenor .... a male singer needs to develop that part of the voice so as to develop an open chest voice..........::.:.::: falsetto is a register in the voice that needs to be worked
@@robertmonthe9750 Exactly, falsetto needs to be developed for the high notes since the CT muscles, which are used for falsetto, stretch the vocal chords.
I found this video in my recommended and have enjoyed it. I'm in a process of developing my mixed voice and it has been pretty complicated haha. I've spent many years using my chest voice to reach notes as high as an A4 very often so now it's a weird sensation to not have the full vibration on my chest when approaching those notes near and past my passagio. I believe my passagio to be located in the Ab4 area. Either G4 or Ab4.
MaghoxFr Que hace un gran TENOR, el titulo original es "WHAT MAKES A GREAT TENOR" esta completo aca en youtube. es mucho mas completo, solo pique un fragmento que hablaba sobre el passaggio, pero es mucho mas completo.
4 года назад
@@MichelGalan25, Disculpa, ¿no tienes el video completo? Parece que ya lo borraron de RU-vid. Te agradeceré si me lo pasaras de cualquier forma a tu disposición
I've listened to different Tenors, and how they sing. When I took voice lessons, I was always told that I should hit the high notes in the head voice. (She was teaching me tenor techniques). However, when I hear them hit those high notes, (*these are opera tenors) They sound like they would hit them in their chest voice, or some mix mechanism. It is only past high A-flat that I hear the acoustical change that indicate a head voice. But even then, it doesn't sound like it's head voice. What techniques are they using?
use your head voice but bring your chest voice up into it. Darken the sound. You can do this by lowering your larynx when you get higher. Think lower when you sing higher (open space in the back of your throat, elongate your neck.)
It is a type of mix voice belting in the terminology of contemporary singing. The opera singers calls it head voice but head voice of contemporary singing is called by then fasettone or reinforced falsetto. (Pavarotti uses this for notes above tenor high c)
I basically agree with what everybody is saying here. Throw your "scuro" of your chiaro-scuro into the sound. You need pharyngeal expansion in the back of your throat. You will also need to lift your soft palate in the back of your throat to accommodate the higher notes. You SHOULD be able to feel it when you are doing this
Please somebody help me with my doubt. (knowing that we have to feel in our chest too) With middle voice we have to feel vibration in our nose, isn't it? But, I'm a little confused, with high notes we have to feel the vibration in our nose too? or we have to go up between our eyebrows or head?
Forget these sensations or feelings, most important is appoggio and the mechanism of coordinating two types of muscles in larynx. If you try to sing high notes with nose resonance the result is a constricted sound, ugly and weak.
Well, within the tenor register, there are subdivisions that cause the center (where you sing comfortably) to be in a different note. An example is Alfredo Kraus, who felt very comfortable singing higher than average. Leaving "Júrame" one tone higher than common records. Another example is Plácido Domingo, who really is a dramatic tenor. His center is almost in a baritone range and that is where it feels most comfortable. The passagio of both is different and is presented in different notes.
I don't think Villazon's technique was the problem. His record label and management rode him like a race horse, and put him away wet as we say at the track. A shame he didn't learn to say no.....
"Singing in the mask" means he sings with a raised larynx. Notes sound nasal and constricted, especially as they go higher. For a perfect nasal high C listen to Alfredo Kraus, also a mask singer. One problem I heard right away with his "Una Furtiva" is his very low notes seem to come out of the middle of his throat. The first note or two "woofs" out, then his voice sounds like it's out of his throat after that. Another thing I don't like is the way he belts out the song. Una Furtiva is a song to be approached with great sensivity and nuance, which he is lacking here. Singers lacking in good technique tend to belt. It's sort of like being a record player with only one speed. Also, IF you have good technique BUT it's still 9 am, you can often use belting as a way to get through the constriction and tightness of your voice as a way to "get by" and put out a decent sound before your voice has fully warmed up. But belting is not something you do as a matter of course. That's also bad technique. Great opera singers don't belt---they sing!!😁
@@xxsaruman82xx87 You don't have any idea of how's the real technique. The technique of Rolando is almost perfect. Even persons like Plácido Domingo had admire him. The problem with him was that he didn't take care enough of his voice and obviously his voice took its toll
Hola! Muchas gracias por el vídeo... Una pregunta: Estas lecciones de Rolando Villazón, son parte de un documental más largo... Se podrá encontrar online? ... porque está muy interesante.. Y cuando se corta; uno querría seguir escuchando lo que explica... Es super didáctico!
+gradivazoe buscalo en google asegurate de poner QUE HACE UN GRAN TENOR esta en DAILYMOTION, aca en youtube lo bloquearon por copyright www.dailymotion.com/video/xgvddr_que-hace-a-un-gran-tenor-1-de-4_music es un documental muy bueno, por supuesto no esta super completo pero es el mejor que se ha hecho de la voz de tenor...
Muuchas gracias, Michel Galán !! Es raro que alguien se tome tanto trabajo en instruir a otros, más así, de forma tan generosa... Gracias a Villazón; y a tí por compartirlo !!!
Llegué a este video después de ver otros donde analizas técnicas de LM, Christian. Entiendo mucho de lo que dices y tambien entiendo, como fenómeno, que te ataquen pues estás tratando con "fans" y ahí no entran razones. Capto que te apegas al análisis de sus técnicas, carencias etc. Yo no me tomo a ofendido; me gusta mucho como cantan LM y Christian pero no me ciego a tus apuntes. La pregunta sería, ¿Qué cantante (s) pop latino ofrece mejor técnica según tu apreciación? En México está Gualberto Castro que a sus 70 y tantos sigue con muy buenas facultades pero se nota que es una voz educada, cuidada. Me gustaría vieras alguno de sus vídeos en vivo, preferible los recientes, de 10 años para acá. Saludos
Mira, este video lo hice hace poco ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-W3D_ZqoTLJ0.html como podras apreciar la tecnica de luismi ha mejorado muchísimo... el mejor cantante POP que he escuchado en toda mi vida es NINO BRAVO, ha tenido la mejor tecnica y la mejor "VOZ NATURAL" podia subir hasta un Si natural sin cubrir y "ABIERTO", y sin "GRITAR", eso no lo puede hacer ni siquiera CRISTIAN CASTRO o LUISMI... escuchare al cantante que me mencionas y luego te respondo.
Michel Galan Hermano seria muy grato q nos pudieras mostrar la técnica que tu tienes, puesto que 2 segundos en el video no es suficiente, yo tengo muchos problemas en el passagio sobre todo con vocales CERRADAS y aprendo mucho de otras personas
+JoseMiguel77777 la vocal mas dificil es la i...para superar el passaggio se usa esencialmente la E...es la vocal mas importante en el estudio del canto...es la que "IMPORTA" de verdad...las otras son hijas de esta...
Para mi la vocal mas fácil para superar el passagio es la i, hasta kraus lo dijo, y con respecto lo que dices de la e, esa fue tambien una de las mejores vocales para impostar mi voz en el registro medio, y es la vocal con la que alcanzó más volumen y potencia.
okay so i don't know my vocal type at all... my lowest note is usually F#2 and I can reach F2 or E2 on good days (or like, when i just wake up cause im really groggy or something). I have NO IDEA how to mix and I'm really frustrated about that. I can belt (or at least I think I'm belting..? up to G#4. After that I go into falsetto (or at least... I think it's falsetto... and my highest falsetto note I have is F#5). anyone have any thoughts?
Sounds like a bass singer. Low C is tenor lower limit, low A is baritone, and below F going into E is a bass lower limit. Sounds like though that if you're reaching G#4 you've come close to your two octave requirement, and extending this beyond E4 is extremely difficult. Two octaves is enough for most pieces to be sung, as usually music is written within one octave and sometimes a note or two above or below. Falsetto will allow upwards another octave, but is generally not used in most music written for bass singers.
A bass (maybe some bass-baritone too) could sing C2 or even lower in modal chest voice without using vocal fry. The lyric baritone uses in repertoire G2 but in vocalises goes to E2 or maybe D2. High baritone and low tenor (spinto, dramatic and heldentenor) can sing low f2 but in repertoire maybe A2 or B2. One thing is range, another is tessitura, my range in chest modal voice goes from F2 (e2 or d2 with some mix with vocal fry) to F4. In reinforced falsetto ( opera terminology) or head voice (contemporary terminology) I can sing from E3 to A5. In whistle register I can sing from G5 to C6 (soprano "high c"). In "chesty mix voice" (coordinating the muscles and mechanics of head voice/falsetto and chest voice, with predominance of chest: "chesty mix voice" in contemporary terminology, "head voice" or "voce piena di testa" in opera terminology ) I can sing from F4 to C5 (tenor operatic " high c"), in a more "heady" mix from A4 to A5. But my tessiture and comfort zone using modal voice (chest and chesty-mix/operatic head voice ) goes from G2 to G#4. Now I can sing only high baritone and lyric baritone repertoire but with the weight of my timbre with training and maturity maybe I could sing as spinto or dramatic tenor. My first passagio is B3-C4 and second passagio E4-F#4.
My vocal range is G2-B5(D6), my Passagio lies between F4-G4, and my tessitura is F3-G4, based from my speaking voice, and my head voice goes from G4-B5, while I can scream up to C6. Am I a baritone, baritenor, or a tenor, plus my timbre is mid-light, mostly light like young steve jobs and I'm 21.
Saludos desde los EE. UU. Muchas gracias por todos sus vídeos. Pero una pregunta: ¿Hay algunos vídeos suyos para enseñar como cantar con la resonancia de la cabeza más especificamente? Eso me ayudaría mucho. Gracias
What kind of sound is used in the lower notes? Vocal fry? Subharmonics? Growl? If it is modal voice than you would be a bass, if not you could be a baritone or a tenor.
Can someone help me please . I have a problem , I don´t know what type of voice I have . I go with three teachers and two say that they can´t determinate my voice , the other says that I´m a tenor but I need to increase my vocal range , I read on internet but I´m confuse because in one page says that a tenor range is from C3 to C5 , others from C3 to A5 , B2 to G4 , and my range is from B2 to F4 normal and to F5 with falsetto , I know that the color is important but with my vocal range I have more possibilties of been a tenor or a baritone? , because thats other thing I read that baritone range is from G2 to E4 , From A2 to F4 and even to B4 , sorry for my english , I´m learning.
I know this was a while ago but I’m very certain you are a Tenor. Just one that doesn’t really know how to sing higher notes. I used to get stuck at F4 ad well and could never get over it, I was completely sure I was a baritone but now after about a year and a half I can sing C5’s consistently and can get up to a slightly strained D5. It just takes time and dedication
You can discover/determine your voice by recognizing which tone is your lowest.. Higher tones need a lot of practice and firstly a clear mind, free of burden. You are/were an undeveloped tenor. Congratz. Range of a classic tenor is from (As2) A2 to C5 (D5). That's A2 to C5, + some people have a little more space than others.
Can someone help me know what type of tenor I am? Low tenor? Lyric tenor? Tenor Leggiero? CounterTenor? My range is F2-B5 (without whistle register) Basically my full chest voice is F2 to G4 and then i naturally switch to headvoice. But i can push it up to Bb4 using nasal resonance. If i mix, i can belt notes up to Eb5-F#5. Notes after Eb5 become very heady tho. And then my falsetto goes to B5 ( i have touched C6 a few times) i have a medium weight to my voice not very dramatic. I can comfortably sing with full resonance in a low tenor and a lyric tenor range. I can sing In baritone range with support but not as great resonance as a low/lyric tenors range. My voice sounds similar to a Lyric mezzo/ contralto in her lower range. My voice is light but does have a dark timbre and a rich lower register. My falsetto is light and airy. I also lose resonance at Bb2 and I lose support at G#2 when i go really low. Im not the BEST at melismas also but i have great vibrato even in my whistle register and falsetto.
kpoptastic you sound like a leggiero (same as me). This is one of the highest male voices! It has an extention up to F5 above C5. They also have an almost baritonal like low range extending usually down to F2, sometimes even lower! You described a perfect leggiero tenor!
Ayyy, team tenor!!! My passagio is about a4-b4 and I can project notes up to my whistle range around c6-f6 d: My disadvantage is that I have a quiet, light, airy voice, but I'm still working on making it sound bigger. What kind of singers inspire all of you?
my idea for rock singer or hard rock singer is "loop the part of a classical song"nessun dorma for example.. repeat always the same part,chorus,don t care about the whole song,you need the big hit.. btw you can achieve nuances in a 2 time.. most coaches teach you about whole song for breath feeling but for me is important learn the high notes. maybe you can be a monster in high c and a weak in other part,but in rock you destroy all the dudes.. loop classical,the part you want,master it..
my primo passagio is at c4 but my secondo is at Eb4 when i try ascending from g39(fully chest) but when i lighten voice my passagio shifts or breaks to head vice at f4/f#4 to directly to a4 ! what does this all mean ? i can sing d5 Eb5 with a really intense mix sort of voice which sounds feminine but my lows are really warm and masculine which decieves me whether i am a bari or not!
Depends on your age But for opera singing you need be past 22-25 years old to have a grasp on your vocal qualities Best vocal exercises are with vowels initiated on B: ba, be, bi, bo You gotta try staccato. Also arpeggios. Also you should be able to keep your head up, or look forward as you sing. If you noticed, Villazon has his chin in the chest sometimes, meaning he was pushing his low notes Follow Mauro Augustini and Michael Trimble
Started really well and then faded into generic content. Villazon is/was a great singer and successfully modulated through the passaggio with virile strength. What exercises or awareness does he promote for this transitioning?
its really difficult coz u get turned down with this voice... alhough I can reach a good 2nd octave notes. Any F5 chest resonance is accompanied with my throat's condition. EL SALO
I'm a teen singer, my middle voice starts at E3, my chest voice extends down to E2-F2 ish. My Passagio is about E-flat 4 (Sometimes it's E4). My voice goes into full head voice at around high A-flat. (That's when it becomes a lot lighter) E-flat 4 to G4 is my zona di passagi. I am only 16 as of the writing of this comment. What kind of operatic voice do you think I'll develop into? (I know the voice can change unexpectedly, but if my voice maintained what I've written, what operatic voice do you think it will become?)
Gammacentrum12 probably bass-baritone...because real BASS IS EXTREMELY hard to see...most of bass around the world are real baritone with good low notes...
Michel Galan As of right now, F2 and G2 are extremely weak comfortably I can go as low as C3-E3. Anything lower is super extreme. E2 is only in the mornings or if I push my larynx down with the root of my tongue. (Which I don't do since it hurts) A lyric tenor told me I'm a possible leggiero because of the behavior around high A-flat. Then again, I'm still a teen. (I sing bass in the church choir, which is hard at times). My tessitura right now is E3-D4. (sometimes my passagio is at D4, but it's rare that that happens.) Do you still think I would be a bass baritone? What are the other possibilities if certain areas develop more than others?
Gammacentrum12 men is imposible to say for sure because you have only 16...the voice stop developing around 21-22...sooooo and without training is pretty hard to hit low notes in the "PERFECT" way, trust me a good "LOW NOTE" is "AS HARD AS A GOOD HIGH NOTE"... but ignorant people only thing in high notes... low notes exist too... a low note in the wrong way can damage any voice...is easy put it in the throat because is low...in the low notes we need to open the mouth all we can...so the note can go freely, actually in all the tessitura the mouth should be very open in theory but in practice it is sometimes impossible by the beat of the song and the vault that has
Michel Galan Yeah, my voice stabilized. After its second changing session. (When I wrote the comment, It was still cracking). It's hard for me to hit a high E-flat since that's in my zona di passagio. D4, is the primo. I am able to stretch my "teen chest voice" up to an F, but usually I try to access the head voice by then. I still have about one more change to make (natural larynx change because of puberty) before I'm 21. I guess either baritone or tenor. By the way, what vocal fach do you belong in?
conforme más agudo vaya la voz de tenor, más alejado es el sonido que uno percibe como emisor de esta misma. Hay una entrevista a Pavarotti en italiano hablando de eso y como el sonido se proyecta y como cantante comienza a escucharse sofocado
Tengo 16 años, me gusta cantar, no se mucho sobre estas cosas al respecto,La nota mas baja que puedo producir es un C2 pero es airoso si hablo de ser una nota solida es E2 y donde recien empieza mi voz de cabeza o falsete (nose la diferencia) es un G4/G#4.Mi voz de cabeza falsete llega hasta un C6, incluso un poco mas alto hasta un F#6/G6 mas o menos pero suena chilloso y no me gusta porque me fastidia un poco la garganta.Bueno quisiera saber que tipo de voz tengo.
+Luis Saavedra Yo comienzo desde E2 y he ampliado hasta C#2, llego hasta G3, pero de ahí en adelante tengo el problema del passagio, por lo que veo somos bajos. Saludos!
juan felipe salazar yo diría que aún no alcanzaste la madurez de tu vos y que cuidarás a ella bajo la supervision de un Maestro de Canto que sepa preservar lo que no se compra en la farmacia ni en casas de instrumentos musicales que son " Cuerdas Vocales " el proceso de maduración de una vos lleva años ..... cuídate si quieres cantar hasta los noventa....
De hecho ya paso un añoz y mi voz se ha hecho mas profundo alcanzo notas de la primera octava hasta un A1 mas o menos, pero mi voz no se ha hecho mas gruesa es lo que se me hace raro y por falsete solo doy hasta un D6 y ya empiezo a forzar a partir de un F#4
@@carlosvelez4142 ¡Muchas gracias Carlos! No vi tu comentario hasta el momento😳. ¡He ido a clases de canto y me fue muy bien! Mi voz ha cambiado bastante a cuando tenía 15. Ahora suena más grave y con armónicos. ¡Requiere mucho esfuerzo pero hermoso poder cantar!
This may be interesting in a historical context, but for students it's completely useless!! No description of what he actually does with his voice- it’s an ego trip, unfortunately. I do admire him as a singer, though
Learn from a trained ear who can guide you folks. Otherwise you need to put in 110% self-awareness because self-teaching on the vocal techniques is very obscure. You can't see what you are doing.
I appreciate the full voice sound of the tenor singing high C but I don't think that it is good for the voice. I think the old masters had the right idea, sing falsetto on the high notes. The voice will last longer and be healthier.
Nonesense, There's nothing unhealthy about it it's just technique. Singing, like most activities isn't supposed to be natural, beautifull singing develop with years of training. Most kids when they shoot in a ball for the first time use the tip of the foot because it is the easiest and most obvious way of doing it, now it's not how you play football.
***** Well I don't know how cyst effects voice, but I do know that he did managed to sound good at times before and after the surgery so I don't think it is a defect in the body. A good sign of technique is that it should feel efficient and easy, so the voice last longer. For him there is always a lot of effort in the voice where is didn't need to be.
***** I see, that makes sense. Although why is he sounded less brilliant after the nodule is removed? I suppose he hasn't got time to re-study his technique.
This is simply wrong. Mens voices do not have “zones”. They have one register: the Chest. This goes all the way to the top. Thereafter you simply Open up the voice and sing in pure head. (NOT falsetto). See Rockwell Blake’s discussion of this. Only female voices have “zones” (head, middle, and chest).
Be careful of the information that Blake Gives. A Male singer certainly sings in one register. A male singer has two passaggi. The first one is an acoustical adjustment. It is a subtle change due to the change of conditions in the throat. It is a movement from a persons speaking range into a slightly vowel modified sound. The second passaggio is a Muscular change. Many call this cover. Certain extrinsic muscles of the larynx come into play. It allows the male singer to continue the same quality of sound as he ascends the scale. Those first couple of notes are the hardest to get right. Cover is the hardest thing for a singer to accomplish and takes time. It is a matter of comprehension and muscular development. As one passes the first couple of notes the feeling is not "open" as Blake puts it, in the same way as the pre passagio notes are. But it is not as difficult to attain as the first notes of the passaggio. I do not prescribe to open and closed vowels. All vowels should have the same space. I do understanding when Blake says more open. But it can mislead some people without anyone guiding them through the process. It takes time and strength to develop these muscles. And do it without constricting or inhibiting the function. There is an aspect of strength and subtly in this process. A Male singer goes into head voice when he moves towards piano singing. Watch my video on it. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TZphODkstV8.html
