JonJon Posted January 23, 2016 Share Posted January 23, 2016 Ok, maybe a dumb question. The whole bridging/passaggio/belting thing. It gets confusing because we read that the male passaggio is typically starting somewhere around d4-f4. Ok, fair enough. Yet then we read that so and so likes to "belt"a b4 or c5. So if he can "belt" a b4 then how is his passaggio down somewhere around d4-f4? As a person becomes more trained does this all become a matter of semantics and/or shades of gray? for instance that same singer could probably hit a b4 in chest, or "mixed", or pure head voice, correct? And nevermind those 3 pictureword terms, he could probably hit NUMEROUS different shadings and versions of that same b4...correct? I think its just the term "bridging" that throws me. The term itself implies some sort of "digital" either/or thing when its really not that way. The term "bridge" make you think someone has done a trick or something lol. But if a guy sings a phrase from chest voice up to, say, a4-b4...its not going to stand out like "omg, he bridged!"...correct? Obviously a trained singer isnt going to all of a sudden hit one specific note and his while vocal character change So the term "bridging"...does it really almost apply more to sirens that to singing actual phrases? Any good examples out there of guys singing phrases where they obviously bridged within the phrase? Obviously there are plenty of examples where guys belt B4-c5ish stuff in pure chest. Its like there are SO many examples of belts around b4 that it makes it hard to understand the passaggio being said to be around d4-f4ish Link to comment Share on other sites More sharing options...
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