My favorite line in the clip!

I got the feeling of this technique within an year and even mastered it when I was about 17 years old..... I used this same methodology for hitting my highest mixed note B5....... I went higher, but I couldn't keep the chest blended with it..... All I was left with was my head voice..... So yeah, this technique is awesome and the ease + resonance you feel is just awesome 😊👍

@@newhope5729 Don't understand what he means. The vocal folds need to physically vibrate 369.994 times per second (hertz) to produce that F# pitch. How is it *physically* any easier by "coloring" the sound? 🤔

@@Better_Call_Raul Sorry my mind can't comprehend that at the moment

@@newhope5729 Are you a tenor? Or a baritone?

Pavarotti doesn't need a warm-up

how do you know he did not warmed up before the master class? Singers are tricky, they warm up when you don't see to sound always amazing.

He warms up every single day! He says that he loses his voice if he doesn't warm up in three days. I believe he uses the Caruso method to warm up.

@@ahhhmouuu what is the Caruso method?

How did you achieve it? I do it but it sounds exactly like what he said. It sounds strangled

Hi Steve, How to implement this?

@@sanjeevbalhara9954 go to my instagram ...steven burton music. I have songs and vocal lessons there explaining this method. You can look up my KZfaq channel as well. It is Steven Burton well. I hope this helps. Have a blessed day!

@@stevenburton7922 Okay ill have a look. I dont have time to watch them but i subscribed .

@@eagleforce4116 Thank you!

@Marie Whitbread Thanks for sharing! He was such a good man!

I'm training myself as I can because I also don't trust in modern teachers and their over-efforting techniques. I hope some day I find this thing you mention you learned in the past.

Read Antonio Juvarra's books. He's a master of true Italian belcanto

I know someone who teaches that way.

Do research on sul-fiato technique. That's the real old school italian method for singing.

Actually, Luciano Pavarotti is on the record stating that he used Gigli as a standard on proper technique and beautiful sound whereas it was his father who highly regarded Di Stefano.

It is exactly the other way around

Die Stefano sounded absolutely phenomenal and is one of my favourite tenors ever, but yeah. His technique above the passagio was not great.

Other instruments as?

@@georgeda90 bullshit lol

How do you cover a violin, a guitar or a trumpet?

@@georgeda90 wording would be different. We say don't press the bow, don't catch the vibration of the string so sound can float(?). If you press too much(it's like closinf the throat i guess) then sound drops and intonation as well. But what do i know 😂

@@violinpraxis So, by covering he means a resonant, free and open sound?

I knew that he spoke English but I didn’t know that he spoke it well.

A little bit off topic but Merrill had the kind of technique my teacher taught to his students. Do you notice how relaxed his face is and how he doesn't make any strange mouth shapes? His larynx is low because he's relaxed and not through any artifice. Compare him to Leontyne or Hvorostovsky for bad examples.

Out of key?😂

What do you mean by that?

I didn't get what u were trying to explain in the phrase "This feeling in his demonstration...". Would mind to elaborate that for me. Dark and soft? If you have a link to show as a sample that would be better. Were you referring to the part where he did a demo already @1:10.

Duri Hedera unfortunately you just can’t think straight. I was talking about the difference vocal issues between various native speakers. An infant has not yet been affected by the language of a certain nation. You obviously know nothing about singing and bel canto ( of course you believe that you know everything, just like any other idiots around) . Stop making yourself embarrassed in public

Jay Tamayo the point is that you probably get it far worse when you singing, after you believe that you learn sth from this viedeo

Jay Tamayo I think Steve FOX is referring to the fact that Italian native speakers speak in a very forward position to begin with. That is, their tongues are already tilted forward, so the vowel sounds they make, even without training, tend to already be bright. When Pavarotti is talking about “covering,” he is talking about darkening the vowel in the passaggio (crudely put, the transition between the lower and upper registers); it helps protect the vocal chords and to produce a round rather than spread sound. (For an example of someone who doesn’t cover, check out Giuseppe Di Stefano after 1955 or so.) Since Pavarotti is an Italian native speaker with bright vowels, the addition of a cover creates a balanced sound - both bright (from the vowels) and dark (from the cover). Speakers of other languages speak with vowels that are less forward. So the danger is that if they try to cover without first getting their vowels forward, they will end up producing overly dark and woofy sounds. Also (separate point), some people cover naturally (I think that is what Steve FOX means by voices that are “dark and soft already”). So they might end up over-covering if they try to imitate what Pavarotti is doing. Steve FOX, feel free to correct me if this is not what you meant. All in all, everything that Pavarotti is saying here is accurate. But a little knowledge can be a dangerous thing.

Duri Hedera I have heard both Pavarotti and Joyce DiDonato make that point about babies crying, actually. The idea is that babies are not yet socialized, so they cry without inhibitions and, often, with full support and efficiency. But once they start becoming attuned to how other people are judging them, how they “should” act, etc., they begin to develop inhibitions and tension in the wrong places. A lot of learning how to sing has to do with removing tensions that one has learned from growing up in society. That’s why some talk about the “Naked Voice.”

November, 1987, The Julliard School of Music, New York City

@@mhoeler thanks

Depends on how you look at it. When covering, you feel the voice changing its position to the back and front of your skull. Its resonating there unlike chest and middle voice

F# is not a head bland yet for tenors, everything is after, but a note can be blend and be coveed at the same time. Covering just means you give space to the sound so it stays round.

@@DrRhyhm Not true i was instructed vis the bel canto line of Tetrazzini F should be covered but can occasionally be opened but as a rule the passagio begins at F and definitely on F sharp

Ash Scott Somewhat telling, don’t you think?

thinks it's his accent

he's techincally a transformer

That is the “point” on the voice. Those great singers who have squillo have this razors edge sound even when they speak. If you were sitting with Pav at dinner, I suspect you would have been amazed at how sharp and “pointed” his speaking voice sounded. That comes from having the correct type of vocal cords that approximate cleanly and evenly. Correct cord adduction

Actually vocal fry is natural in a free speaking voice.

I would love to hear a speech pathologist answer this!

do you doubt pavarotti???

@@JefersonSantos-bt1ef I was just reading comments by Joseph Shore in a post about how to practice. He wrote that what Pavarotti said is not accurate. Also, it's worthless to think about what happens in the larynx since you have no conscious control or awareness of the vocal cords.

Sorry: if you ar NOT already

it is really important technic

@@stefanosever2095 Thank you. It is super clear now. :P

It rather means holding back the voice a little, rather than blowing straight out, particularly when one is singing high and loud. your head is like a cave with lots of resonating space, so if you were in an actual cave, you would hold back your voice a bit b/c you know it will resonate (easily) off the cave walls. (no need to risk distortion)

@@cheery-hex you writing a wrong thing!I'm a professional opera's singer- this technic is a special phisical technic which lets the chords working in a special way... It can't be explain just by words here-it needs to be shown by examples how it works physicly

It’s carrying up full chest voice (TA tension) by singing into a deep moan at a loud volume. At first it feels like your head will explode but, if you engage the larynx firmly enough, it starts to strengthen really quickly and, after resting a while, it feels stronger than before and even gets this lovely loose velvety quality. As Pavarotti says to Jerome Hines in Great Singers on Great Singing “you really must make the voice more squeezed”. It’s counter-to prevailing orthodoxy but it’s what he learned from Pola and it’s what I’ve learned from one of Pola’s pedagogical grandchildren and it just works, although it’s bloody exhausting for a while until the mechanism strengthens. Gary Catona is basically teaching this only he doesn’t explain it very well because he talks about a dark, veiled tone. It’s not dark, it’s really dark AND really bright at once.

I prefer his explanation tbh , that why you’re nobody and he was one of the greatest tenors of the twentieth century

@jakegarlick140 what a weirdly defensive reply. I am shortening exactly what he said, not differing from it, weirdo.

@@whatk8edo153 no!!!! you started by saying “ anyone wondering , this is a long convoluted video “ we all know what he was saying thank you!!

@jakegarlick140 It was a long conversation. The main points are what I commented. You are weird for being triggered by me extrapolating the technique he eventually discusses. Anyway, off to trigger some other weird people with my innocent comment🤣🤣🤣🤣

By cover, he means the sound is deeper. As if the pharynx is even more open. Notice the first example? He starts in chest voice and keeps the same space at the top note, and it’s not deep enough and sounds “strangled?” He allowed the larynx to relax downwards as he went up the 2nd time but didn’t move away from the impingement of the chest voice.

Literally covering it more so it resonates. Changing the vowel sound from Ah to Uh. The shape of the mouth and loosening of the jaw not wide and open.

@@tabor503 Since the time that I've left the comment originally, I actually have a MUCH better understanding of what it means to cover. My higher range sounds immensely better than it used to. Still not perfect, obviously, but I understand the concept and try to apply it when needed. Ofcourse, I'm still only 20 so my voice has a long while before it's matured but my technique has improved a lot, especially in the last 6 months or so. Now that I understand what it means to cover and the specific ways in how to engage my body to make it work correctly, I have made great improvements to my sound

Sounds a bit different though.

Maybe he means active but relaxed