In my previous blog, I discussed the presence of different vocal registers in the singing voice. These were broken down into chest, middle and head voice registers. For all voices, there is a point in which the shift from one register to another occurs. Usually, this is a particular pitch (unique to each singer), and it is known as the passaggio. This is one of the most important techniques I work on mastering with my students in their singing lessons.
In Italian, passaggio simply means “passage.” Since we discussed three vocal registers, there are naturally two points of transition for a singing voice. These are known as the primo (first) passaggio and the secondo (second) passaggio. Much like register assignment, where in the scale a passaggio may occur depends on each singer’s physical makeup. The primo passaggio takes place in between the chest and middle registers, while the secondo passaggio lies between the middle and head registers.
For most sopranos, the primo passaggio is located around Eb4 (below middle C), and the secondo lies usually between C#5 (one octave above middle C) and F#5. A tenor’s primo passaggio generally lies between C# and E, while a baritone’s can be up to three scale degrees lower. No one singer is the same. The best way to discover your own passaggi is to vocalize slowly, singing up a scale (8 notes). For the primo passaggio, start well in your chest register (for women middle C is a good starting point, while for men the F below middle C). If you pay close attention, you will notice a lightening of your sound, and a lesser vibration in your chest. For the second passaggio, men should start their scale around A4, and women around G4 (above middle C). When reaching the transitional point, you will notice the brighter, ringing tone of the head voice taking over. For help finding the specific pitches to start your scales, see this piano key cheat sheet.
As mentioned in my previous post, the goal for singing is create a consistent sound from the top to bottom of your range. This unification of sound is much easier to discuss rather than accomplish, thanks in large part to the presence of the two passaggi. I mentioned the need for vowel modification in the upper (head register) range, which is one aspect of adjusting the voice. Equally important is the need to resist the urge to bring up the weightier chest register too far into the middle and upper ranges.
Failing to observe these technical ideals will result in an abrupt switch in the tone and production quality of a singer’s sound. I like to compare this abrupt transition to the functioning of a manual (stick) shift car to an automatic transmission. One happens so smoothly that the rider is sometimes unaware that there has even been a shift in gears. The other can be an extremely unpleasant experience!
Additionally, a singer who does not incorporate the mixing of registers in their sound (like many “belters”) often find that they reach a ceiling in their vocal power. Past a certain note in their range, they are simply unable to maintain their sound, and are either unable to produce clear tones in their head register (due to vocal damage) or must shift to their head voice, resulting in a significant change in tone/power/etc.
Next week’s post will focus on the practice of “belting,” which I think merits its own article.
Hi! Good article. I have been developing my head voice and practicing shifting between the registers. I am a male singer, and my main Passaggio point seems to be around an A, right below middle C. For some reason, I can transition pretty smoothly when using an "e" or "oo" vowel, but when I try in on "ah," I experience a raspy tone going through the Passaggio. Is there a way to eliminate this, so it will be as smooth as it is on the other vowels?
Yes, It sounds in that way because your sound got open, Try to do "ah-i" in Passaggio zone and when you are about to change the vowel just imagine that the "ah" is a "I", it might help you.
what would my vocal type be if my primo passagio is C4 going into my middle range and my second passagio is D5 going into my head voice, my range is A2-F#5. I don't know if I'm countertenor, lyric, or leggero tenor, please help me.
Reggie, you can read more about the Fach system for classifying voices here https://en.wikipedia.org/wiki/Fach, but I'd suggest you not worry about what your voice type is. Instead, just worry about singing music that sounds great for your voice! If you really want to classify your voice, you'd need to work with a teacher or other professional, since it's not just about your breaks. It's also about the range and the weight of your voice.
We can't do that in a written description.
I don't think you meant to say that the soprano's first passaggio is Eb below middle C.
Hi Mike, thanks for reading my article!
For expanding the connected head voice (what you are referring to as "mixed voice"), I would suggest going from the top down. With male singers looking to have fuller sound in the extreme range- high C and above- I recommend starting in the falsetto, and gradually adding more chest connection on a downward moving line. For instance, switching from "ooh" to "ahh" over the course of a descending 5-note pattern (sol-fa-mi-re-do), adding a bit more power on each note. This way, you will avoid putting too much weight on the voice in that high range, but can start to experiment with creating a fuller sound that will match your lower notes.
ah! And I think that my head voice its developed solidly, I sing it with power and I reach A5 without being so screechy, in a Thom Yorke or Buckley way. So thats why I want to develop my mix voice to the top of its range.