I just can’t thank you enough for this!😊

I really like how it seems so easy. Thank you so much for these videos!

Excelentes consejos Maestro

one of the best!

@giancarlomonsalve

Жыл бұрын

Thank you!

May you please one day make a video explaining the different types of tenors?

Muchas gracias... Por enseñarme

@giancarlomonsalve

Жыл бұрын

Me da mucho gusto que estos videos informativos son de ayuda a tantos cantantes.

Muy interesante, trataré de aplicarlo

@giancarlomonsalve

Жыл бұрын

Muy bien! a por ello!

Great video as always. I know you’re very busy and I’m glad you’re enjoying your new home but I was just wondering, are you planning on making videos of lessons in your technique and selling them on your website like Josh Wright the pianist? I would love to learn them.

@giancarlomonsalve

Жыл бұрын

Yes, I am currently working on producing educational material. Stay tuned for more updates and information on my upcoming courses and masterclasses. Follow me on social media or visit my website to stay up-to-date on the latest developments and to sign up for my email newsletter to receive exclusive offers and discounts. I'm excited to share my knowledge and expertise with you, and I can't wait to help you achieve your goals and improve your skills.

Great video!! I have a question. I’m a tenor singing student and I have a problem with F# and G. Before that and after those two notes my voice works and resonates really well but I lose resonance and support with those exact two notes. I can hit them no problem but the sound is ”stuck” and ”tense”. Any advice how I could work on these two?

This video was very helpful. Cause I was making changes when approaching F and F# but it turns out that these changes must not occur in the way I was doing it. Thank you very much

@giancarlomonsalve

Жыл бұрын

Hi Arthur, Thank you for your positive feedback on the video. I'm glad that it was helpful for you and that it clarified some of the challenges you were facing with your singing. It can be difficult to make changes to your technique, especially when you are trying to overcome specific challenges like the passaggio. However, with practice and guidance from a knowledgeable teacher or coach, you can learn to make the necessary adjustments to your technique and improve your singing. It sounds like you were making changes to your technique when approaching F and F#, but that you were not achieving the desired results. This is a common issue for singers, and it can be caused by a variety of factors. For example, you may not be using proper breathing or alignment, or you may be tensing your throat or jaw when singing these notes. To help you overcome this challenge, you may want to try some of the exercises and techniques that were discussed in the video, such as using proper breathing and alignment, singing with an open throat, and maintaining a consistent tone and quality of sound throughout your range. With practice and dedication, you should be able to improve your singing and make the necessary adjustments to your technique. Remember to feel your sensations, do not focus in the sound and make any necessary adjustments based on feedback from a teacher or coach. With time and effort, you can master your passaggio and improve your singing overall. Best regards, Giancarlo Monsalve

@arthur.monticelli

Жыл бұрын

@@giancarlomonsalve wow thank you so very much for taking the time to write all of this. It hits different when it comes from someone like you who can actually do it in a healthy way instead of people that only talk but don't demonstrate. I'll keep your teachings in mind, thank you very much once again

Más vídeos en Español por favor, saludos

@giancarlomonsalve

Жыл бұрын

Estoy trabajando en ello :)

Carìssimo maestro, what can you tell me about voice focus. When you sing an ascending scale you think of focusing your voice on the soft palate, forward, down, back, at the base of the nose… Every teacher guides you differently. What do you think? Thanks!

@giancarlomonsalve

Жыл бұрын

Hi Pedro, Thank you for your question about voice focus and the different ways that teachers may guide their students in this area. Voice focus is an important aspect of vocal technique, and it can have a significant impact on a singer's sound and performance. When it comes to voice focus, there are many different approaches and techniques that singers and teachers may use. Some teachers may instruct their students to focus their voice on the soft palate, while others may recommend focusing forward, down, back, or at the mask. Each of these approaches can be somehow effective in certain situations, but it is important for singers to experiment and realize that vocal emission has the same basis for every human being. In general, I believe that the key to effective voice focus is to maintain a consistent and well-supported tone throughout the range of the voice. This involves using proper breathing and alignment, as well as maintaining an open, relaxed throat and avoiding tension in the neck, or shoulders. Seek out guidance and feedback from a knowledgeable teacher or coach who can provide personalized instruction to understand scientifically supported data on voice emission not based on imagination or simple ideas without a physical demonstrable examples. I hope this helps to answer your question, Pedro. If you have any further questions or need additional guidance, please don't hesitate to reach out. Best regards, Giancarlo Monsalve

@giancarlomonsalve

Жыл бұрын

@@sidneikovacs5499 Isso é como procurar o Santo Graal sem um mapa. Você precisa conhecer a ação física precisa para criar uma reação sonora e recriada em sua natureza sempre e não por acaso.

How do You apply this in popular songs?

The zone of the passaggio is different for every singer and might also change through young-adult life and through study and excercise... Let's say in theory most tenors should have their two passaggi around D4 and G4 but for example a tenore contraltino might have them as high as F4 and Bb4 (perhaps even higher, I do not know...) or a tenore baritonale might go as low as having his two Passaggi around C4 and F4... but sometimes lower passaggi are listed, either baritones singing as tenors (Ramon Vinay or the great Heldentenor Lauritz Melchior were both full, real and not even "high" Dramatic Baritones, the latter having a pretty decent CounterLow C2 not every bass can boast!) or real baritenor voices with a very wide and large and easy vocal range and large control, like that required from a "tenore di mezzo carattere" or haute-taille or baritenore, usually ranging Low G2 to High D5. And recognising what sort of voice a student has is extremely difficult, most great singers never actually fully categorised themselves until after they ended their own careers or any way they weren't the typical example of just ONE proper fach! Baritones could range from having passaggi as low as A3 and D4 and as high as C4 and F4. Basses could range from as low as F3 and Bb3 (yep, being in their full high notes one full tone before even reaching Middle C4 on the Piano...) up to A3 and D4 (basso cantabile e bass-baritones are here)

@edraith

Жыл бұрын

btw I'm listening to your video-tips and to your performances and you're fenomenal man. I hope to see you in Italy soon, really

@giancarlomonsalve

Жыл бұрын

Hi edraith, Thank you for your comment about the passaggio and the variations in its location for different voice types. You are correct that the passaggio can vary for different singers and can change over time due to factors such as age, training, and experience. The passaggio is an important aspect of vocal technique and can have a significant impact on a singer's sound and performance, but the idea is to bypass the passaggio to feel that there is "no passaggio" As you mentioned, the location of the passaggio can vary for different voice types, with tenors typically having their two passaggi around D4 and G4, while a tenore contraltino might have them as high as F4 and Bb4 (or even higher), and a tenore baritonale might have them as low as C4 and F4. However, as you also pointed out, there are many exceptions to these generalizations, and some singers may have passaggi that are lower or higher than the typical range for their voice type. For example, a baritone may have passaggi as low as A3 and D4 or as high as C4 and F4, while a bass may have passaggi as low as F3 and Bb3 (or even lower) or as high as A3 and D4. One way that singers can address the challenges posed by the passaggio is to focus on developing an open, relaxed, and well-supported vocal technique that can help to bypass or eliminate the need for a distinct passaggio. This can involve using proper breathing and alignment, as well as exercises and techniques that can help the singer to maintain a consistent tone and quality of sound throughout their range. By practicing and applying these techniques, singers can develop their voices and achieve a more seamless and effortless transition between their chest and head registers. In addition to the variations in passaggi for different voice types, you also mentioned that some singers may have a range or control that extends beyond the typical boundaries of their voice type, making it difficult to classify them into a specific "fach" or vocal category. For these singers, it may be especially important to focus on developing an open, relaxed, and well-supported technique that can help them to sing with greater control, flexibility, and range. With practice and dedication, they can improve their singing and achieve their full potential as vocalists. Giancarlo Monsalve

@bradycall1889

Жыл бұрын

@@giancarlomonsalve Yeah, I agree that the idea that passaggio is the one way to be 100% certain about someone's vocal fach is a lie. Though you can be very close to making a guarantee of someone's fach by where their voices start to break up, there are other factors as well. Their are exceptions to the general rules sometimes.

Hi, is that how we "coordinate" the 2 mechanisms ( chest and falsetto) that you are talking about? If so, then I have a follow up question. I ve read somewhere that people should spend time developing each mechanism before trying to smoothout the passagio. So when is the perfect time to start doing that (coordination)?

@giancarlomonsalve

Жыл бұрын

Certainly, allow me to clarify. In the Old School of singing, we do not typically focus on the concept of falsetto as a separate mechanism. Instead, we approach the voice as a holistic instrument and work on developing a strong, balanced tone throughout the entire range. That being said, some singers may naturally have a lighter, more head-dominant quality to their high notes, which can be achieved through a coordination of the vocal folds and resonance mechanisms. In this case, we would work on coordinating these mechanisms to achieve a seamless transition through the passaggio, but would not necessarily label it as "falsetto". In terms of when to begin coordinating these mechanisms, the same principles apply. We recommend that singers focus on developing a strong foundation in their chest voice and gradually work on expanding their range and exploring coordination through exercises and repertoire that target the passaggio. This process takes time and patience, but with diligent practice and guidance from a knowledgeable teacher, it is possible to achieve a balanced, effortless sound throughout the entire range.

@bachphantat

Жыл бұрын

@@giancarlomonsalve Very interesting. How would you treat heavier voice? I have seen many cases (myself included) where the voice is to heavy, chest dominant and its really hard to get pass G4 without sounding "pushed", "yell", "inelegant". Some said to practice "yawning" to get used to the lengthening of the vocal fold, but some advocate training the falsetto by using the dark "u" above G4 to strengthen the mechanism. ( I have tried both and they seem to work for me as I feel less tension in E4-G4)

Sir,Can you please explain how to sing we vowel with open throat 🙏It’s been very difficult for me and hope you will help me overcome that!🥲

@giancarlomonsalve

Жыл бұрын

Certainly! Achieving an open throat while singing the "we" vowel can be a challenge, but with proper technique and practice, it's definitely possible. One important aspect is to maintain proper posture and keep the larynx low and stable while singing. This can help prevent tension in the throat and allow for a more relaxed, open sound. Working with a qualified vocal coach can also be helpful in developing proper technique and personalized guidance. At The Old School of Singing, we have a team of highly qualified vocal coaches who can help you achieve an open throat and develop your voice to its fullest potential. Feel free to visit our website at www.theoldschoolofsinging.com or contact me: Giancarlo Monsalve directly over social media to book a private lesson if the agenda have some space, otherwise we have or vocal coaches. We would be happy to help you overcome any singing challenges you may have.

Podrías hacer videos en español? Por favor

@giancarlomonsalve

Жыл бұрын

Estamos trabajando en ello

I feel a lot of tension in my throat in notes such as e4 f4 and f#4. Straight notes can be made like yours, but when words are added to them, I started to feel the tension in my throat again.

@giancarlomonsalve

Жыл бұрын

Hi Kadir, It sounds like you are experiencing tension in your throat when singing certain notes, which can be a common issue for singers. To help alleviate this tension, you may want to try some exercises and techniques that can improve your technique and support. For example, you can warm up your voice before singing by doing some gentle vocal exercises to loosen your muscles and prepare your voice for singing. You can also use the proper breathing technique to support your voice and avoid straining your throat. This may involve taking deep breaths from your diaphragm and exhaling slowly to maintain a steady flow of air. Additionally, using correct vowel formation can ensure that your vocal tract is properly aligned for singing. This may involve opening your mouth and shaping your lips and tongue to produce the correct vowel sounds. Finally, try to sing with a relaxed and open throat to avoid constriction and tension. This may involve singing with a slightly lower larynx position or using a "siren" exercise to practice opening and closing your throat while maintaining a steady flow of air. In addition to these exercises, you may also want to consider seeking out a vocal coach or teacher who can provide personalized feedback and guidance on how to improve your technique and overcome your throat tension. With practice and dedication, you should be able to improve your singing and reduce the tension in your throat. Best regards, Giancarlo

@yetisenn

Жыл бұрын

​ @Giancarlo Monsalve Hi Giancarlo, Thank you for your response, generally, no one answers my questions on youtube :D I will try to apply all of them, I hope they will be so helpful in reaching high notes. There are millions of videos on youtube about inhaling, breathing deeply, etc... but no one talks about exhaling ... for example, while I am getting high notes step by step when I am above D#4, I start to feel that the following note will not come and I begin to shout to get the following one. In this situation, I have to manage my airflow, how about its direction, soft palate ?, or maybe outside (out of mouth), maybe to nose ... because when I try to forward air to the palate, I feel tension, when I forward air outside (out of mouth), I am losing air too fast, so I couldn't understand the main idea about exhaling while I am singing high notes

@mauriciosan6565

8 ай бұрын

I have the same issues and also after D#4 😢

Ciao, ho da poco iniziato le lezioni di canto. Il mio maestro è molto bravo, ma anche tu sei fortissimo. Comunque, sentendomi e usando un rilevatore di frequenze, arrivo a C/C#/D della quinta ottava. Diciamo che però sono suoni molto leggeri, in testa presumibilmente, non credo sia falsetto anche se potrei sbagliarmi visto che non ho l'orecchio allenato, ma non mi pare disconnessa la voce. Ma se io volessi provare una lezione con te anche da remoto, si potrebbe fare? Vorrei provare ad ottenere un suono più pieno per le note alte. Sto facendo canto moderno ma non mi dispiacerebbe spaziare su più stili, sono comunque tecniche che uno si porta dietro e vengono comode da usare a piacimento... Se riesci, fammi sapere! Ciao!

@giancarlomonsalve

Жыл бұрын

Ciao Andrea, Grazie per il tuo interesse per il mio canto e per la tua domanda sul prendere lezioni con me. Mi fa piacere sapere che stai prendendo lezioni di canto e che il tuo insegnante ti sta aiutando a sviluppare la tua voce. Può essere molto utile lavorare con un insegnante esperto che può fornire una guida e un feedback personalizzati sulla tua tecnica e aiutarti a superare qualsiasi sfida tu possa incontrare. Dal tuo commento, sembra che tu abbia un buon orecchio e sia in grado di cantare nella quinta ottava, che è una gamma impegnativa per molti cantanti. È anche interessante che tu abbia menzionato che le tue note alte sono leggere e possibilmente nel registro di testa, ma che non sembrano disconnesse o simili al falsetto. Ciò potrebbe indicare che hai un buon grado di controllo sulla tua voce e sei in grado di produrre toni coerenti e connessi nella gamma alta. Se sei interessato a lavorare con me, di persona o da remoto, sarei lieto di aiutarti a sviluppare il tuo canto e migliorare le tue note alte. Ho un approccio completo al canto che fonde le tecniche delle tre più importanti scuole tradizionali di canto e posso fornire indicazioni e feedback su come migliorare la tua tecnica e raggiungere il tuo pieno potenziale come cantante. Sono anche a mio agio con una vasta gamma di stili e sono aperto a lavorare con cantanti interessati ad esplorare più generi e tecniche. Se desideri prendere lezioni con me, fammelo sapere per cercare uno spazio nella agenda nelle prossime settimane, e possiamo discutere i tuoi obiettivi e obiettivi come cantante e come posso aiutarti a raggiungerli. Non vedo l'ora di lavorare con te e aiutarti a migliorare il tuo canto. Troverai informazioni con rigualdo alle lezioni nel sito www.theoldschoolofsinging.com Giancarlo Monsalve

@andreatorriglia8010

Жыл бұрын

@@giancarlomonsalve Grazie mille ho inviato un'email all'indirizzo indicato!

1:35 Excercise

I don’t know how to sing at all help 😂❤

@giancarlomonsalve

3 ай бұрын

Everything is possible, step-by-step you can make it, if you can talk, you can sing. My advice will be to look for a local teacher who can help you in person in the very first steps, and when you have a little bit more of experience, you can go into remote learning online. The important thing is to believe in yourself, and go for it 🎶

how to breath

@giancarlomonsalve

Жыл бұрын

It starts by knowing where are your lungs and what mechanism activates them! To improve your breathing technique, it is important to understand the anatomy of your respiratory system and how it works.

This applies to tenors only I suppose.

@Tanner-James

Жыл бұрын

Yeah I was thinking the same thing lol. Definitely only applies to tenors. Lyric tenors probably at that.

@Tanner-James

Жыл бұрын

Nevermind just read that he was a dramatic spinto tenor but nonetheless I dont think this applies to baritones lol

@KEPSAGAMER

Жыл бұрын

Don't limit yourself by labelong yourself into a box. You can get there, just keep at it

@arthur.monticelli

Жыл бұрын

yes, the passaggio shown here is the passaggio of tenors, around F and F#

@giancarlomonsalve

Жыл бұрын

The passaggio applies to every vocal range, in different tessituras, but the concept is the same for everyone.

Hi man, you have a nice accent, may I ask where are you from? Is it central Spain or is it South America? I'm curious on a purely linguistic standpoint :)

@giancarlomonsalve

Жыл бұрын

Chile :)

@User1975-

8 ай бұрын

@@giancarlomonsalveEres Chileno ????!!!! Enserio 🤯🤯 Maestro !! No lo sabía … que orgullo!! Aun no soy chileno pero soy latino de nacimiento aunque criado en Australia!! Por alguna razón creía que eras italiano 🤯 Enhorabuena maestro , yo soy estudiante de opera (tenor) y quiero darte las gracias por estos vídeos súper informativos!!!! De nuevo té felicito maestro. Un abrazo fuerte