How to Hit High Notes Middle Voice 4

How to Hit High Notes – Middle Voice Video 4

How to hit high notes

This vocal arpeggios video is the fourth voice instructional video guide in the middle voice series which will help you learn how to hit high notes.

This video demonstrates some free singing tips using the vocal arpeggios exercise to help singers negotiate the ‘passagio’ or the ‘break’ in the voice

Vocal arpeggios are the staple diet of any singer and can be very beneficial in the development of the upper register so make them a part of your regular daily vocal workout as you learn how to sing high notes.


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  • Anders

    Reply Reply August 8, 2013

    Thanks for fantastic stuff and I must say you did a stellar job with Praying Mantis. I am an old fan. I think that your teaching is more than great for rock singing and if I had the opportunity to learn from you whilst I sung metal it would have made a huge difference. Now I am an old fart and perhaps also more in to opera stuff and perhaps I need to stretch mittel and bruststimme a little bitt more.
    In opera as a tenor I need to sing at least high C’s in mittel (not the same as mixed or whatever tutors want to call it). I would hate to confuse things since your stuff is fantastic. But isn’t there a risk to lose brust and mittel by doing to much of this high and light stuff? Perhaps we need to stretch these areas as well but in moderation. Perfect stuff and as far as I know. This was just a suggestion. All the best!

  • Tony

    Reply Reply September 9, 2013

    Hi Anders

    Thank you for the very constructive comment. I know that classically trained tenors are used to producing a much larger tone up to the high C and this requires much more energy and muscular interaction than the lighter production I teach for contemporary singing. A classical tenor will still use the full depth of vocal fold which resists the thyroid/cricoid interaction moreso yet produces a bigger tone. Contemporary rock and pop singers emply less depth of vocal fold and this offers less resistance to the thyroid/cricoid tilt and thus the folds end up much thinner and tighter (producing a lighter tone by way of comparison).

    I don’t think that there is any danger in having methods available but I do take your point that if the laryngeal muscles (particularly those of the arytenoids) are not kept strong then fold closure will be difficult in the upper register for those wanting to produce that fuller operatic tone.

    I hope this makes some sense?

    Kind regards

  • Anders

    Reply Reply September 10, 2013

    Hi Tony

    Thanks I think your answer made perfect sense. Anyways, great stuff and thank you for sharing.

    All the best!

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