Princess Silke posted: " Comment on a "colleague" who does give out right, correct, but also FALSE information, leaning on false idols who never got it right: (Link) LETS SEE: The article is wronging you! Yes, it may be right.. the PASSAGIO is The Dreaded Pass"
Yet.. I DO NEVER INTEND TO LET YOU THINK OF THE NOMINATION "dreaded".. since the one reason it gets HARDEST is first to name it "difficult", "hard", or "dreaded"!
ANY SINGER MAY GET THE PASSAGIO.. WHEN YOU WORK ON IT!
PASSAGIO IN THE UPPER REGISTER TAKES TIME: KNOW IT! - it's not your "fault".. you are not a "failure "!
It never interests you "which notes your transitions might be":
YOU CANNOT LEARN PASSAGIOS BY FOCUSING ON NOTES YOU HAVE YET NOT ACHIEVED! THE PASSAGIO EXPANDS.. IS EXPANDABLE.. WHEN YOU CONTINUE WORKING!
NEVER SETTLE ON A TWO-NOTE ACHIEVEMENT.. WHILE YOU CONTINUE LISTENING TO YOUR USAGE OF MESSA DI VOCE, YOU MAY EXPAND PASSAGIOS TO MUCH MORE THAN EVER EXPECTED!
"Students often find that the test of a good teacher is the way in which that teacher can take them through these parts of the voice.": A TEACHER WHO TELLS YOU TO "worry".. or even think about that.. who also speaks about "opinions", rather than SENSATIONS, is never a good nor useful person to you; all he ever does is to link you to failure! Some.. to make you eternally dependent on him, rather than yourself!
I COMMENT:
The basic essentials for the passaggio to work are the following:
Passaggio: A set of 1-3 semitones where the voice changes registers. Most commonly, there is one between chest and mixed (middle) voice, and one between mixed and head voice.- CAN BE MORE!
try to think of your whole voice as having the ability to gain qualities of both head and chest throughout.- DON'T THINK! ONLY EXPERIENCE!
"COVER".. what is MISSING: When a vowel in the upper register is "covered ", it allows the POSITION to be gained by an automatic uplift in the backbone.
You have to think of the voice as one, single instrument from top to bottom.
THIS IS THE FINAL ACHIEVEMENT.. OF LONG STUDY - PRACTICE!
The "room" explanation IS DETRIMENTAL! IT DOES'NT ALLOW YOU TO OPEN!
How about thinking.. once you find the right way to get further.. you step out of the house into the infinite heaven!
LOWER PASSAGIO
Accessed by relaxing the voice into full throat!
Never think "larynx". It's not of any use, whatsoever!
Your middle voice cannot transition to become your head voice: your must learn how to use both! Individually + mixed! THIS IS THE MAIN STUDY!
Whatever you do: think "FORWARD"!
All notes must be thought "into the front" FORWARD!
"making the vowel sit further back in the throat where it feels more protected": TRICKY! WHEN.. YET ONLY WHEN YOU ARE PREPARED.. A BACK POSITION IS USED FOR p-ppp EMISSION!
Falsetto is independent from FULL EMISSION.. even in the highest register! To develop falsetto first.. is as saying "you must sing MUSICAL (that is FALSE opera) before becoming an opera singer! Which female sings FALSETTO? None!
I COMMENT:
In order to correctly train the upper passaggio, you need to develop your head voice, and your lower-middle mixed voice. I would not recommend repetitively singing in your upper passaggio until both mechanisms are sufficiently developed. : ONE CANNOT TRAIN HEADVOICE WITHOUT LIFTING THE PASSAGIO!
BALONY:
What does it sound like to the listener and where do people place it?
When the listener hears a successful singer moving through their passaggio, the sound is fairly distinct, but the voice still remains as if it is a part of the same instrument. The listener will notice the 'weight'
BALONY!
.."As a result, the sound tends to exist in the nasal cavities, " : THE ONLY WAY TO ACHIEVE THIS IS VIA FRONTAL POSITIONING OVER YEARS!
JUAN DIEGO FLOREZ
Is an idiot! He never got support: you listen to slurring "fast" notes out of INTONATION! Some notes are not SOUNDING! Overall, his tiny tenor voice never allows for any DYNAMIC, and the entire aria sounds as it is screamed! No opera singer will last by his emission. BESIDES: ego-divo dummy! Did he looked good on opera magazine covers.. the only Peruvian / South American opera singer is young age!
"MERRIL" is one of ENRICO CARUSO's multiple impersonations! It's CARUSO:
Note: the entire aria is produced at only mezzo forte.. never diminishing the higher registers dynamics! He is never damaging his voice! The expression of "paga" reinforces the critique aspect of the meaning of this aria! He ON PURPOSE OPENS WIDE, the get the sarcasm flowing! The parts where he "speaks" he is still singing - unlike Florez.. who stopped singing altogether!
PATTI LUPONE (MEZZO SOPRANO, MUSICAL THEATRE)
Nice video of "Patti Lupone": a perfect musical sound. Musical singers never reach passagio! The entire song is great.. never yelled!
Musical singers require the microphone! That's how they may sing piano.. even positioned in the chest.
BALONY:
Vowels must become more neutral as you ascend
The resonance will feel as if it is constantly 'lifting', even though you are for the most part using as much of your hard-surface resonance as possible
The passaggio will be lower on a dark-voice
Lower? In sound? In register!
RIGHT:
"Because of the flexibility of the passaggio, you can create a lot more colours and tones within it – this is where true X-factor material comes from. "
THERE:
"How do I actually access it? How do I know I am there?"
Well.. it requires so much effort.. this is when you are there it's EFFORTLESS!
It FEELS right!
Don't let anyone tell you otherwise!
CAREFUL:
"In a comfortable, lower part of your voice, you are going to gently glissando (slide) on an Aaaaaahhhhh vowel to a comfortably high note.: NEVER!
Start with Aaaahh, as you rise up, you must alter to Aaaawwwhhh, as you get to the higher part of your voice, you will alter to Oooooohhhhhh. : NEVER!
In men, if you are more advanced, alter to Uuuuuuhhhhhhhh near the top. : NEVER!
If you are warming up the voice or if you are new to this, please do it quietly.: UH?
Do this in conjunction with good breath support (exercises here)."
"2. You need to know how to lift the soft palate. This is done using the backwards 'ssss' "exercise 1" in the article here."
The breathing linked article is confusing! HELP yourself by
"4. Do the following exercise when you are a little more advanced: Scale: 1,2,3,4..,3..,2..,1.. ": NEVER! NONE of those exercises will get you to a comfortable position!
REQUEST:
"Problems between chest voice and passaggio tend to be caused by the following:
The singer has psychological fears at this point and does not want a weak sound.": GRACE A .. the false teacher!
OUCH:
" , I can put my money on the fact that you are dropping your breath support. Don't believe me? Think again! You need to read this article thoroughly. For your voice to sound the same, your larynx needs to remain stable. It can only remain stable if your breath pressure is being controlled by your support.": NO! DO NOT RELY ON THAT LINKED "article ". Larynx THEORY is totally useless!
HERE IS HOW:
"How do I stop cracking and becoming tense at my second or upper passaggio?"
"A problem up here normally involves the singer cracking as they go to sing a top note – particularly because a lot of top notes are a part of an interval where the upper passaggio precedes it. What tends to happen up here is that the singer will revel too much in the 'forward power' of their passaggio. As they ascend towards head voice, they will not lighten off this power. This means that they will carry up way too much weight."COMPLETELY UPSIDE DOWN!
WEAR IT:
" The singer does not know how to support properly. Instead of letting the support result from good posture and intake of breath, they are simply 'squeezing' and 'oomfing' from their lower abdominal area." : AS SUPPORT ONE MUST SQUEEZE!
TIGHTENING THE ABDOMINAL SQUEEZE ALSO RELEASES ALL UNWANTED TENSING!
CORRECT:
RIGHT:
"5. The vowels are not neutralizing": UMF! WHAT DOES THAT EVEN MEAN?
SO FALSE:
"Now let's say you want to sing an Aaaaahhh vowel. The space in your pharynx (throat) is less because the tongue will be flatter and further back in the throat (see image below).": WHEN YOU DO THAT.. THE SOUND IS GUTTURAL!
NO NO NO:
"So, if you sing higher notes, where you are using less of your vocal cord mass, you need a larger space for your voice to resonate. " : ABSOLUTELY FALSE.
FALSE FOR AN ACCOMPLISHED SINGER:
No!
You will feel the voice "OUTSIDE" the body! Then it's floating!
WHERE DID THAT PERSON COPIED SUCH NONSENSE:
Yikes!
SO.. THEN WHY WOULD "THE TEACHER" EVEN USE THE WORD "COVER" WHEN ITS NOT TIME YET TO FOCUS ON IT?
FORWARD = THE MASK:
FALSE:
"The issue that you commonly see with many students is that they are taught to sing more 'forward' and 'brightly' when they go into their passaggio. As a result, they have the tendency think too hard about 'forward' sensations. ": THUS YOU ALWAYS ALWAYS MUST PROJECT YOUR THOUGHT TO "FORWARD", THERE IS A SLIGHT VARIANTONCE YOU ACHIEVE TO SING THROUGH THE PASSAGIO:
BACKWARDS to round up and NEXT go FORWARD!
THIS IS EXACTLY THE MEANING OF
PASSAGIO!
I DISAGREE:
" A good way of knowing if someone has been taught the 'forward' and 'bright' method is that the voice is pointy,"
The danger of QUOTING others.. who also had no clue!
No comments:
Post a Comment