Singing Lessons with Giancarlo Monsalve: Q&A on Larynx Position and Passaggio.

www.theoldschoolofsinging.com
In this video, Giancarlo Monsalve, a highly-experienced vocal coach and founder of The Monsalve Leyton Method™, answers questions from his followers on a range of important topics in singing. Monsalve discusses the importance of larynx position, and mastering the passaggio, and demonstrates a morning warm-up exercise. He also offers valuable advice on how to be successful in the second passagio, as well as tips on mixing chest and head resonance to achieve a balanced and powerful vocal tone. This video is a must-watch for singers of all levels looking to improve their technique and learn from a master of the Old School of Singing.
Start your journey back to the Old School of Singing at www.theoldschoolofsinging.com
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[@lukasmiller486]

Your voice is so rich and powerful. It reminds me of the 50’s opera singers (Corelli, Callas, Nilsson, Del Monaco and the like) because it seems there’s not a single thin or reedy note in your throat. How come the Met hasn’t invited you yet?

[@brantgutierrez5580]

muchas gracias maestro! de verdad que escuchar concejos de un cantante como usted no tiene comparación🙌🙌

[@sep434]

Magnífico! Lo mejor de lo mejor! #GiancarloMonsalve

[@livmilesparanormalromanceb6891]

Thank you for sharing your knowledge!

[@giancarlomonsalve]

You're welcome! It's my pleasure to share what I know about singing.

[@edraith]

You give a lot of very precise advices about Classical/Operatic Singing, what USians sometimes mistakenly call "Belcanto" (in Italy "Belcanto" is mostly a specific period of singing, quite ancient, before Barocco, also somewhat different from modern Operatic Singing/"Canto Lirico" or "Canto Tradizionale" as we sometimes call it). The idea that in a Voce Lirica you MUST have some Head Resonance into your very lowest notes and some Chest Resonance in your highest notes it's absolutely correct and it's a part of what Chiaroscuro is (wide open pharynx, kinda low to lowish larynx position but NOT forced down, but still a lot of high buzz or "Squillo" and clear vowels who should be easily recognisable even if sometimes slightly readjusted for timbrical reasons). It's also the reason why people who trained Opera and then switch to a Modern Pop Singing Method and start singing Heavy Metal will sing over 4-5 octaves of range BUT in Opera they barely had 2 octave to 2 octaves and a half (some exceptional singers might have covered full 3 octaves in Opera but it's an extremely rare feat): when you train for Opera you want some kind of uniformity through your whole voice and this means using Chiaroscuro, trying to mainting full Squillo into your lowest notes and trying to maintain some degree of Chest Resonance into your highest notes and trying to apply some timbrical readjustment into you Passaggio zone, ofc you will not be able to do this on your WHOLE range and you will still train at home some highest notes well above your last "useable on stage" and you'll still have a whole lot of low range well below what you can project at an Opera Theatre. Not many peope realise that real Pure Tenore Lirico (I'm thinking a tenor mostly suited for Rigoletto and Traviata) starts already loosing much power and projection and substance into his voice on say a central F3 going down to say a Low B2 that would barely be audible in the whole Opera House: and yet some of them when singing at home could still touch say a CounterLowC2, this is the main reason why boys on the internet should stop talking about "vocal range". Vocal range is an illusion, most pianists and organists I know can squeak MOST notes on the whole keyboard A0 to C8. Most people on Quora claim a 5-6 octaves vocal range. Singing is a different thing.

[@giancarlomonsalve]

Thank you for your kind words, I always try to be precise on my explanation of the principles of classical/operatic singing. It's great to see someone who understands the importance of chiaroscuro and maintaining a uniformity of tone throughout the voice. And you're right, vocal range can be an illusion, and it's more important to focus on developing a strong, consistent voice within a specific range. By the way, did you write this text yourself or was it generated by a program?

[@edraith]

@@giancarlomonsalve hey hi :D Ahahah, I re-read what I wrote and I do realise I skipped a couple of passages I likely wrote a few paragraphs more and then deleted them for brevity, I probably also kept writing WHILE listening to the video which prompted me on different thoughts so a few concepts seem disconnected one from another, I believe this is what prompted you to think "is this a person or an AI?" Eheh, nono my Man, I'm real, I'm an ex athlete and ex opera singer from southern Italy, I've studied and practiced A LOT and tried starting a career when I was very very young. I'm currently recovering from a very long sequela of serious health problems and I'm hoping I will someday perhaps restart singing at a professional level: being very passionate about this topic I'm not really LIVING anymore I tend to talk too much and to digress.

[@mariomaurino1669]

Que tal Maestro, quería preguntarte si la posición de la laringe, es igual para tenores líricos y espintos??. Gracias

[@DavidBrowningBYD]

Forgive me if I don’t understand. Are you suggesting that one should take different actions when learning to sing than when one has reached a certain level of expertise?

[@viniciuscerqueira4808]

Hi maestro! My Congratulations to you for this channel. I wish it grows up more and more, day by day. You have a great and beautiful voice and great technique too..in fact, I can see a true genealogy that leads us to the old (and truly) technique..discussed by so many and found by so few. But you found it! I'd like to ask you just a clarification, if possible, You told us that the passaggio should not be felt, but handled as a unique register supported by appoggio, preconizing a mix of head and chest voice, never felt in the throat but as an entire body. I agree. But about breath support..do you feel when going to high register..after G, G#, to superacute, even before, after E, F#..do you feel that your support is going down more and more ..or you feel it moving together (smoothly) to up as a full air cylinder..supported pelvic floor and rib cage wided..I mean... one unique body from the pelvic floor to the top soft palate..expanded and supported?... sorry ..too hard to express it in words...

[@davidbenitez5455]

Buenas noches , tanto gusto en saludarte , soy cantante Ecuatoriano y me gusta mucho tu trabajo , me gustaría tomar clases con tigo , de que manera podría hacer ? Si me pudiera tener tu número personal sería genial !!!

[@giancarlomonsalve]

Hola, me alegra que te guste mi trabajo como cantante. Ofrezco clases en línea desde cualquier parte del mundo, tanto conmigo como con los vocal coaches de mi equipo en The Old School of Singing. Puedes encontrar más información sobre las clases y los precios en mi sitio web www.theoldschoolofsinging.com. Para cualquier otra consulta, puedes contactarme por mensaje privado en mis redes sociales. ¡Gracias por tu interés!

[@davidbenitez5455]

@@giancarlomonsalve me interesa !!! Que metodología usaríamos ? Cuales son los costos , horarios y demás ?