It is better to keep it as passagio as this is the common term in English as well. You may explain it as another accepted term -
"transiation area".

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Note added at 12 mins (2008-08-14 17:47:02 GMT)
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Of course, "passagio technique" is the complete answer to your question (or the technique, art of passagio).

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Note added at 13 mins (2008-08-14 17:48:05 GMT)
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The Passagio

This Italian word translates as: passage, transition, crossing; three words which precisely describe its position and function in the human voice. Although a prominent feature in modern vocal terminology, it was not in the past often directly referred to, but by extrapolation of other advice in 19th century texts, it is clearly and strongly inferred.

All 18th and 19th century sources, from Tosi onwards, concentrate much attention on the paramount need to blend the registers together on the notes where they join and overlap. This is the area which has become known as the passaggio. It consists of between five to seven semitones in most voices, encompassing the upper part of the chest register and the lower notes of the head voice. In the human voice (all voice types) the passaggio lies from B flat below middle C to the F# above – an interval of a minor sixth. Somewhere in this area lie the five to seven semitones that should concern every singer. Noticeably, this means the upper middle of male and the lower middle of female voices. (NB. The passaggio in counter tenor voices seldom extends to more than three semitones.) Because of the difference between male and female voices, the treatment of both, although based on the same principles, can seem very different.



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Note added at 15 mins (2008-08-14 17:50:44 GMT)
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Sorry, I have not yet answered the question: It is:

**The technique of bridging the passagio** or the **art of bridging the passagio**


Robert Lunte : **Training To Bridge : "Lift Up / Pull Back"**
Category: Video Round Table
Posted by Robert Lunte at March 5, 2008 10:15 AM
Bridging the Passagio requires a lift of the soft palate. Robert Lunte trains "Lift Up / Pull Back" to new students to build this coordination and get familiar with the sensation of bridging.

"Lift Up / Pull Back" is a simple technique that will help the vocalist to train a coordination with the levator veli palatini, which is the tiny muscle that contracts to elevate the soft palate. In order to achieve a seamless bridge through the Passagio without experiencing a "yodel" or break in the voice, the modern vocalist needs to be able to shift muscle coordination from the Thyroarytenoids (TA's) to the Cricothyroids (CT's) muscles to elongate the vocal folds, resulting in maintaining vocal fold closure when in the head voice. The sound column also has to be able to reach the heady resonators, thus a lift of the soft palate will greatly assist the complex maneuver of Passagio bridging. This exercise is not the end solution. It is only an interim step that trains coordination and "sensation" for the new student.

You will want to train this maneuver enough so that you can gradually speed up the siren without your voice "breaking". This will mean your body is beginning to adopt a new "attractor state" and can transfer contractions from the TA's to the CT's and lift the soft palate quickly. The faster the maneuver, the bigger the illusion to the listener. I hope this helps!




Respectfully,


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Note added at 18 mins (2008-08-14 17:53:00 GMT)
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More on **bridging**

TVS trains vocal athletes. Our technical agenda is strongly founded on helping the student to develop new levels of strength and coordination that will build a new “singing voice” that gives singers unbelievable endurance and capabilities. This technique enables our students to expand range to 4-5 octaves, develop unique power and master the skills of “bridging & connecting.” Bridging is the ability to seamlessly sing from the lower “chest” voice to the upper “head” voice with no perceived “break” between the two voices. The Passagio, commonly referred to as “the break”, represents the most challenging area of voice development for all singers. No other skill set in singing is fraught with more frustration or more joy, then the ability to bridge the Passagio. TVS is supreme in its expertise and understanding on how to train this mission critical skill.

Once **bridging of the Passagio** is developed and the singer is well into their head registers, TVS singers then work on the next most important skill, the ability to “connect”. Connecting refers to a process known by voice pedagogues as adduction. Adduction means the vocal folds are trained to come back together, or “zip up”, when in the head registers. The result is a full-voiced tone that will match the timbre of the lower voice and expand the singers range potential by 2-3 octaves.

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Note added at 20 mins (2008-08-14 17:55:48 GMT)
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Jimi Zimmardi discusses his philosophy about **Passaggio Bridging** register shifting. This article shows you how to sing with a gentle onset with power and ...



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Note added at 23 mins (2008-08-14 17:58:38 GMT)
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passaggio
Passaggio is a term used in classical singing to describe the pitch ranges in which vocal registration events occur. Beneath passagio is the chest voice where any singer can produce a powerful sound, and above it lies the head voice, where a powerful and resonant sound is accessible only with training. Bel canto describes a primo passaggio and a secondo passaggio in both the male and female voice, Speech Level Singing has something similar. A major goal of classical voice training in Bel Canto type styles is to maintain an even timbre throughout the passaggio. Through proper training, it is possible to produce a resonant and powerful sound.