Chords for PASSAGGIO in the TENOR VOICE F4-G4
Tempo:
116.3 bpm
Chords used:
F
A
Bbm
Db
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
All singing voices have different zones and it is the job of the professional opera singer
To make the transition from one zone to the other seamless so that we keep the same color of voice from bottom to top
Let me demonstrate
[G] In the tenor voice there are three recognizable zones the low zone
[A]
There I am mostly using my chest resonance the middle zone
[Em] [N]
I
Am using a combination of head resonance and chest resonance and then we go to the famous passaggio
200 years ago tenors used to sing his high notes with falsetto
Today we use our full voice
We [Bbm] bring the chest voice and we help it with the resonance of the head voice
[F]
[F] [Am]
The [F] passaggio is [Bbm] an Italian term used to describe the notes which act as a bridge between the chest voice and the head voice
[Ab] Much of a tenor's training is [Ebm] to make [Db] this transition as smooth as possible
[Ebm]
This famous [Gb] aria by Donizetti presents [F] a challenge for any tenor.
It starts [E] on an F [F] the beginning of the [Bbm] passaggio
[F]
[Am]
[Bbm] And then it moves up where I use my head resonance
[Ab] [Db]
[Ab]
[Em] [F]
[Bbm]
[F] [Bbm]
[F]
[Bbm]
[Bbm] [F]
[Db]
[Ebm]
[Db]
[Ab]
[Db]
[F] The full-throated [Bbm] tenor voice as we know it [Gb] today is a relatively modern phenomenon
[Eb] Synonymous with the hero or the great lover.
It didn't quite start that way
To trace the evolution of the tenor voice.
We need to go back all the way to the 18th century
It's an interesting period for the tenor voice in opera one has a lot of
The tenor has to say that the tenor voice is relatively unimportant.
The tenor does have a role but it's often a more subsidiary role
Often the baddie in the opera is actually the tenor not the romantic lover as one might expect in modern opera
In this aria by Händel you can hear that he has written music
That sits quite low in the voice and the colors are darker than what we are used to
This was a typical use of the tenor in operas of the period
The heroic male singers of the time were castratos
Men who had been castrated before puberty to preserve the purity of their high notes
These castrato singers had tremendous power.
They were in a sense singing the tenor type of role one octave higher and
This is quite interesting
So these male voices had you know all the thrill of the high notes of a soprano
But the physique of a man it was capable of singing very florid [Gbm] virtuosic music
And of course these singers were the great superstars of their [A] day
[D] [A]
[D] [A] [D]
[A] [G] Well, [Ab] there are no castrati [Dbm] that we know of singing [Gbm] nowadays
But the closest [Db] we get to what they might [A] have sounded like is when a man sings falsetto known as [G] a countertenor
[B] Listen to the [A] extraordinary voice of Christophe Dumont in this production of Händel's opera Giulio Cesare
[B]
[Em] [A]
[D] [G]
[A]
[D] But after [Bm] Händel composers such as Donizetti, Bellini and [E] Rossini
Did [B] begin to incorporate high notes for [A] tenors in their operas.
[Eb] To tackle this the tenors would use a [G] falsetto voice
[A]
[D] When was [Eb] the modern tenor born?
When was that moment when he started to use all the parts of his body to sing the way we tenors sing today?
Well, the origins of it [Ab] a little bit mysterious, but [G] in the early 1830s
you [Eb] get
Gilbert Louis Duprez the great French tenor coming to Italy
[D] Studying with Donizetti and so on and he [Gb] discovers that he can extend this chest sound
Much higher than was previously done.
We mark it with his performance in 1837 [Em] of William Talon in [Dbm] Paris
The performance was a sensation as the tenor Roberto Alagna [Db] explains
[Dbm]
[B]
[F]
The tenor's voice, especially, thanks to his very [Gb] powerful, very male, very virile notes
The audience will be ecstatic [Bb] to see this heroic and breathtaking prowess
which is to emit sounds of such power at such a height
[B]
To make the transition from one zone to the other seamless so that we keep the same color of voice from bottom to top
Let me demonstrate
[G] In the tenor voice there are three recognizable zones the low zone
[A]
There I am mostly using my chest resonance the middle zone
[Em] [N]
I
Am using a combination of head resonance and chest resonance and then we go to the famous passaggio
200 years ago tenors used to sing his high notes with falsetto
Today we use our full voice
We [Bbm] bring the chest voice and we help it with the resonance of the head voice
[F]
[F] [Am]
The [F] passaggio is [Bbm] an Italian term used to describe the notes which act as a bridge between the chest voice and the head voice
[Ab] Much of a tenor's training is [Ebm] to make [Db] this transition as smooth as possible
[Ebm]
This famous [Gb] aria by Donizetti presents [F] a challenge for any tenor.
It starts [E] on an F [F] the beginning of the [Bbm] passaggio
[F]
[Am]
[Bbm] And then it moves up where I use my head resonance
[Ab] [Db]
[Ab]
[Em] [F]
[Bbm]
[F] [Bbm]
[F]
[Bbm]
[Bbm] [F]
[Db]
[Ebm]
[Db]
[Ab]
[Db]
[F] The full-throated [Bbm] tenor voice as we know it [Gb] today is a relatively modern phenomenon
[Eb] Synonymous with the hero or the great lover.
It didn't quite start that way
To trace the evolution of the tenor voice.
We need to go back all the way to the 18th century
It's an interesting period for the tenor voice in opera one has a lot of
The tenor has to say that the tenor voice is relatively unimportant.
The tenor does have a role but it's often a more subsidiary role
Often the baddie in the opera is actually the tenor not the romantic lover as one might expect in modern opera
In this aria by Händel you can hear that he has written music
That sits quite low in the voice and the colors are darker than what we are used to
This was a typical use of the tenor in operas of the period
The heroic male singers of the time were castratos
Men who had been castrated before puberty to preserve the purity of their high notes
These castrato singers had tremendous power.
They were in a sense singing the tenor type of role one octave higher and
This is quite interesting
So these male voices had you know all the thrill of the high notes of a soprano
But the physique of a man it was capable of singing very florid [Gbm] virtuosic music
And of course these singers were the great superstars of their [A] day
[D] [A]
[D] [A] [D]
[A] [G] Well, [Ab] there are no castrati [Dbm] that we know of singing [Gbm] nowadays
But the closest [Db] we get to what they might [A] have sounded like is when a man sings falsetto known as [G] a countertenor
[B] Listen to the [A] extraordinary voice of Christophe Dumont in this production of Händel's opera Giulio Cesare
[B]
[Em] [A]
[D] [G]
[A]
[D] But after [Bm] Händel composers such as Donizetti, Bellini and [E] Rossini
Did [B] begin to incorporate high notes for [A] tenors in their operas.
[Eb] To tackle this the tenors would use a [G] falsetto voice
[A]
[D] When was [Eb] the modern tenor born?
When was that moment when he started to use all the parts of his body to sing the way we tenors sing today?
Well, the origins of it [Ab] a little bit mysterious, but [G] in the early 1830s
you [Eb] get
Gilbert Louis Duprez the great French tenor coming to Italy
[D] Studying with Donizetti and so on and he [Gb] discovers that he can extend this chest sound
Much higher than was previously done.
We mark it with his performance in 1837 [Em] of William Talon in [Dbm] Paris
The performance was a sensation as the tenor Roberto Alagna [Db] explains
[Dbm]
[B]
[F]
The tenor's voice, especially, thanks to his very [Gb] powerful, very male, very virile notes
The audience will be ecstatic [Bb] to see this heroic and breathtaking prowess
which is to emit sounds of such power at such a height
[B]
Key:
F
A
Bbm
Db
D
F
A
Bbm
All singing voices have different zones and it is the job of the professional opera singer
To make the transition from one zone to the other seamless so that we keep the same color of voice from bottom to top
Let me demonstrate
_ _ [G] In the tenor voice there are three recognizable zones the low zone
_ [A] _ _
_ _ _ _ There I am mostly using my chest resonance the middle zone
[Em] _ [N] _
I
_ _ _ Am using a combination of head resonance and chest resonance and then we go to the famous passaggio
200 years ago tenors used to sing his high notes with falsetto _ _ _ _ _ _
Today we use our full voice
We [Bbm] bring the chest voice and we help it with the resonance of the head voice _ _
_ _ _ _ _ [F] _ _ _
_ _ _ [F] _ _ [Am] _ _ _
_ _ _ _ The [F] passaggio is [Bbm] an Italian term used to describe the notes which act as a bridge between the chest voice and the head voice
[Ab] Much of a tenor's training is [Ebm] to make [Db] this transition as smooth as possible
[Ebm] _ _
This famous [Gb] aria by Donizetti presents [F] a challenge for any tenor.
It starts [E] on an F [F] the beginning of the [Bbm] passaggio _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[F] _ _ _ _ _ _ _ _
_ _ _ _ _ [Am] _ _ _
_ _ [Bbm] _ And then it moves up where I use my head resonance _ _ _ _ _
[Ab] _ _ _ _ _ [Db] _ _ _
_ _ _ _ _ _ [Ab] _ _
_ [Em] _ _ _ _ [F] _ _ _
_ _ _ _ _ [Bbm] _ _ _
_ _ [F] _ _ _ _ [Bbm] _ _
_ _ _ [F] _ _ _ _ _
[Bbm] _ _ _ _ _ _ _ _
_ [Bbm] _ _ _ _ _ [F] _ _
_ _ _ _ _ _ _ _
[Db] _ _ _ _ _ _ _ _
_ _ [Ebm] _ _ _ _ _ _
_ _ _ _ _ [Db] _ _ _
_ _ _ _ _ _ [Ab] _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Db] _ _ _ _
_ [F] _ The full-throated [Bbm] tenor voice as we know it [Gb] today is a relatively modern phenomenon
[Eb] Synonymous with the hero or the great lover.
It didn't quite start that way
To trace the evolution of the tenor voice.
We need to go back all the way to the 18th century _ _ _ _ _ _
_ _ It's an interesting period for the tenor voice in opera one has a lot of
The tenor has to say that the tenor voice is relatively unimportant.
The tenor does have a role but it's often a more subsidiary role
Often the baddie in the opera is actually the tenor not the romantic lover as one might expect in modern opera _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
In this aria by Händel you can hear that he has written music
That sits quite low in the voice and the colors are darker than what we are used to
This was a typical use of the tenor in operas of the period _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ The heroic male singers of the time were castratos
Men who had been castrated before puberty to preserve the purity of their high notes _
_ _ _ _ _ _ _
These castrato singers had tremendous power.
They were in a sense singing the tenor type of role one octave higher and
This is quite interesting
So these male voices had you know all the thrill of the high notes of a soprano
But the physique of a man it was capable of singing very florid [Gbm] virtuosic music
And of course these singers were the great superstars of their [A] day _
_ [D] _ _ _ _ _ _ [A] _
_ [D] _ _ [A] _ _ [D] _ _ _
[A] _ _ _ [G] Well, [Ab] there are no castrati [Dbm] that we know of singing [Gbm] nowadays
But the closest [Db] we get to what they might [A] have sounded like is when a man sings falsetto known as [G] a countertenor
_ [B] Listen to the [A] extraordinary voice of Christophe Dumont in this production of Händel's opera Giulio Cesare _
_ _ _ _ _ [B] _ _ _
[Em] _ _ [A] _ _ _ _ _ _
_ _ _ _ [D] _ _ [G] _ _
_ _ _ _ _ [A] _ _ _
_ [D] _ But after [Bm] Händel composers such as Donizetti, Bellini and [E] Rossini
Did [B] begin to incorporate high notes for [A] tenors in their operas.
[Eb] To tackle this the tenors would use a [G] falsetto voice
_ [A] _ _ _
_ [D] _ When was [Eb] the modern tenor born?
When was that moment when he started to use all the parts of his body to sing the way we tenors sing today?
Well, the origins of it [Ab] a little bit mysterious, but [G] in the early 1830s
_ you [Eb] get
_ Gilbert Louis Duprez the great French tenor coming to Italy
[D] Studying with Donizetti and so on and he [Gb] discovers that he can extend this chest sound
Much higher than was previously done.
We mark it with his performance in 1837 [Em] of William Talon in [Dbm] Paris
The performance was a sensation as the tenor Roberto Alagna [Db] explains
[Dbm] _ _ _ _ _ _ _ _
_ [B] _ _ _ _ _ _ _
_ [F] _ _ _ _ _ _
The tenor's voice, especially, thanks to his very [Gb] powerful, very male, very virile notes
The audience will be ecstatic [Bb] to see this heroic and breathtaking prowess
which is to emit sounds of such power at such a height
[B] _ _
To make the transition from one zone to the other seamless so that we keep the same color of voice from bottom to top
Let me demonstrate
_ _ [G] In the tenor voice there are three recognizable zones the low zone
_ [A] _ _
_ _ _ _ There I am mostly using my chest resonance the middle zone
[Em] _ [N] _
I
_ _ _ Am using a combination of head resonance and chest resonance and then we go to the famous passaggio
200 years ago tenors used to sing his high notes with falsetto _ _ _ _ _ _
Today we use our full voice
We [Bbm] bring the chest voice and we help it with the resonance of the head voice _ _
_ _ _ _ _ [F] _ _ _
_ _ _ [F] _ _ [Am] _ _ _
_ _ _ _ The [F] passaggio is [Bbm] an Italian term used to describe the notes which act as a bridge between the chest voice and the head voice
[Ab] Much of a tenor's training is [Ebm] to make [Db] this transition as smooth as possible
[Ebm] _ _
This famous [Gb] aria by Donizetti presents [F] a challenge for any tenor.
It starts [E] on an F [F] the beginning of the [Bbm] passaggio _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[F] _ _ _ _ _ _ _ _
_ _ _ _ _ [Am] _ _ _
_ _ [Bbm] _ And then it moves up where I use my head resonance _ _ _ _ _
[Ab] _ _ _ _ _ [Db] _ _ _
_ _ _ _ _ _ [Ab] _ _
_ [Em] _ _ _ _ [F] _ _ _
_ _ _ _ _ [Bbm] _ _ _
_ _ [F] _ _ _ _ [Bbm] _ _
_ _ _ [F] _ _ _ _ _
[Bbm] _ _ _ _ _ _ _ _
_ [Bbm] _ _ _ _ _ [F] _ _
_ _ _ _ _ _ _ _
[Db] _ _ _ _ _ _ _ _
_ _ [Ebm] _ _ _ _ _ _
_ _ _ _ _ [Db] _ _ _
_ _ _ _ _ _ [Ab] _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Db] _ _ _ _
_ [F] _ The full-throated [Bbm] tenor voice as we know it [Gb] today is a relatively modern phenomenon
[Eb] Synonymous with the hero or the great lover.
It didn't quite start that way
To trace the evolution of the tenor voice.
We need to go back all the way to the 18th century _ _ _ _ _ _
_ _ It's an interesting period for the tenor voice in opera one has a lot of
The tenor has to say that the tenor voice is relatively unimportant.
The tenor does have a role but it's often a more subsidiary role
Often the baddie in the opera is actually the tenor not the romantic lover as one might expect in modern opera _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
In this aria by Händel you can hear that he has written music
That sits quite low in the voice and the colors are darker than what we are used to
This was a typical use of the tenor in operas of the period _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ The heroic male singers of the time were castratos
Men who had been castrated before puberty to preserve the purity of their high notes _
_ _ _ _ _ _ _
These castrato singers had tremendous power.
They were in a sense singing the tenor type of role one octave higher and
This is quite interesting
So these male voices had you know all the thrill of the high notes of a soprano
But the physique of a man it was capable of singing very florid [Gbm] virtuosic music
And of course these singers were the great superstars of their [A] day _
_ [D] _ _ _ _ _ _ [A] _
_ [D] _ _ [A] _ _ [D] _ _ _
[A] _ _ _ [G] Well, [Ab] there are no castrati [Dbm] that we know of singing [Gbm] nowadays
But the closest [Db] we get to what they might [A] have sounded like is when a man sings falsetto known as [G] a countertenor
_ [B] Listen to the [A] extraordinary voice of Christophe Dumont in this production of Händel's opera Giulio Cesare _
_ _ _ _ _ [B] _ _ _
[Em] _ _ [A] _ _ _ _ _ _
_ _ _ _ [D] _ _ [G] _ _
_ _ _ _ _ [A] _ _ _
_ [D] _ But after [Bm] Händel composers such as Donizetti, Bellini and [E] Rossini
Did [B] begin to incorporate high notes for [A] tenors in their operas.
[Eb] To tackle this the tenors would use a [G] falsetto voice
_ [A] _ _ _
_ [D] _ When was [Eb] the modern tenor born?
When was that moment when he started to use all the parts of his body to sing the way we tenors sing today?
Well, the origins of it [Ab] a little bit mysterious, but [G] in the early 1830s
_ you [Eb] get
_ Gilbert Louis Duprez the great French tenor coming to Italy
[D] Studying with Donizetti and so on and he [Gb] discovers that he can extend this chest sound
Much higher than was previously done.
We mark it with his performance in 1837 [Em] of William Talon in [Dbm] Paris
The performance was a sensation as the tenor Roberto Alagna [Db] explains
[Dbm] _ _ _ _ _ _ _ _
_ [B] _ _ _ _ _ _ _
_ [F] _ _ _ _ _ _
The tenor's voice, especially, thanks to his very [Gb] powerful, very male, very virile notes
The audience will be ecstatic [Bb] to see this heroic and breathtaking prowess
which is to emit sounds of such power at such a height
[B] _ _