For what it's worth this is what I find too, though I don't think of it as
closing so much as becoming more vertical. john
At 08:40 AM 4/21/00 -0700, you wrote:
>> > you idea of what you think Pavarotti is describing
>> when he talks about
>> > "squeezing" through the passaggio
>
>I've often heard the voice described as an hour glass
>-- more open in the lower middle and above the staff,
>but very narrow through the passaggio.
>
>In a finished voice, I think a singer is able to
>maneouver this way -- larger, "bigger" feelings below
>the passaggio, then a quite closed, narrow feeling
>through the passaggio, then opening again to let the
>big, ringing top notes fly out.
>
>Non-finished voices (such as my own) often have to
>close/narrow refine-the-focus lighten (insert your own
>terminology here) the lower middle voice also.
>
>It's deceptively easy to let yourself sing big, fat,
>open, full and luscious F's and G's, only to find that
>your A's and B's have become thin and difficult. I
>have to consciously close up (both in narrow-feeling
>and by leaning into more closed resonating vowels, [i]
>for [I] and so forth) my passaggio if I want my C's
>and D's to be big and brilliant.
>
>Isabelle B.
>
>=====
>Isabelle Bracamonte
>San Francisco, CA
>ibracamonte@y...
>
>
>
>
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John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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