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The logic of the Passagio

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ThePowerOfOne
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Hello Modern people,

I have a question about a seldom discussed topic on this forum - The passasgio!

I don't understand the following:

My break is on E4, that's where I flip or crack if you will.

However I notice that I do not have to go into head voice before D5 actually. Meaning I can stay in chest register if I choose to, and sing between that E4 breaking point all the way up to C#5 comfortably without straining.

D5 however, in that same configuration becomes a painful note and that's where I transition to head voice (or mix, whichever term you prefer)

So why is that? if the natural break from chest to head is E4, how is it that I'm able to carry chest all the way up to C#5 and it doesn't feel or sound like straining?

Isn't the passagio set in stone? I mean this is a difference of nearly a full octave.

Any explanations will be appreciated. Thanks!

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The break you find at E4 is very common. Finding the right vowel formation can help you through that. But from there on up your TA is dominant - that's the chest sound. Then up at a certain point, which can vary quite a bit - and you can change this point - your CT becomes dominant and you are officially in Head. Yes, you can carry TA dominance (chest) up to D5. However, the holy grail is to slowly morph the TA to CT dominance so that you have one continuous chest voice all the way up.

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just to add, anytime you choose to stay more ta-based...(example: michael bolton-ish sounding) pulling chest as some people refer to it......basically using a greater percentage of chest voice musculature....it will require more support and vowel "efficiency."

as geno and geran said the ideal setup is to be in a mixed voice configuration for the passaggio. you will find the more you exercise, the more voluntary blending you can do with the different musculatures.

just don't strive to see how high you can go in chest voice.

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just to add, anytime you choose to stay more ta-based...(example: michael bolton-ish sounding) pulling chest as some people refer to it......basically using a greater percentage of chest voice musculature....it will require more support and vowel "efficiency."

as geno and geran said the ideal setup is to be in a mixed voice configuration for the passaggio. you will find the more you exercise, the more voluntary blending you can do with the different musculatures.

just don't strive to see how high you can go in chest voice.

Thanks for the input VIDEOHERE.

I'm not at all trying to pull chest up high or test how high it can go. I'm not a fan of that shouty/strained sounding, super high chest voice, but I do however prefer a later connection say around A4 or so.

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