For many singers a huge impediment to singing high notes is psychological. You believe you can't sing those notes, consequently you can't! Probably someone once told you that you couldn't, or even you have just heard recordings of professional singers and thought, "there is no way I can do that."
When you're beginning to develop your upper range, there are various prerequisites. Good breath support is essential, as is relaxation of the face, jaw, and throat. One way to reach that relaxation is to hum as moving your jaw as though you are chewing.
Singing high notes needs use of your upper resonance, often referred to as your "head voice." You want the sound to vibrate in your frontal sinuses; think of it as appearing from the triangle between your eyes and the bridge of your nose.
You should feel vibration in your nose and sinuses, probably also the roof of your mouth (soft palate). Do a number of yawn-slides, and commence each one at a higher pitch than the last. Think of the tone as being vertical rather than horizontal, and imagine the sound as coming from your forehead and the top of your head. Think of it as riding up in an elevator, and your breath is the means that makes the elevator escalate.
A variation on this exercise, which also helps with breath control and tone positioning, is the "buzz-slide". It uses a method that goes by various names: buzz, bubble-lips, lip roll. After a great deep inhalation with good expansion, exhale using loosely puckered lips so that they resonate. When doing the buzz, try to experience the vibration in your nose and sinuses. Just like the yawn-slide, start at the top of your range and drop to the bottom.
Following, sing arpeggios. Take in a good breath with full broadening of your midsection; lightly sing an arpeggio (do-mi-so-do-so-mi-do) on "ah" or "oo". Begin at an easy pitch, and begin every new arpeggio a half-step above the last. Let your mouth open broader at the top of each one, but avoid facial contortions. Maintain an easy, relaxed, erect posture.
When you're comfortable with the exercises, go for a song to do that has a few high notes in it. Firstly choose one that has some high notes that are not sustained; the majority of the song should be in a comfortable mid-range. Later you can develop songs that stay in the upper range and need sustained notes.
A strong upper scale won't appear overnight, but if you work regularly and diligently at the exercises, you will be gladly amazed with your results.
When you're beginning to develop your upper range, there are various prerequisites. Good breath support is essential, as is relaxation of the face, jaw, and throat. One way to reach that relaxation is to hum as moving your jaw as though you are chewing.
Singing high notes needs use of your upper resonance, often referred to as your "head voice." You want the sound to vibrate in your frontal sinuses; think of it as appearing from the triangle between your eyes and the bridge of your nose.
You should feel vibration in your nose and sinuses, probably also the roof of your mouth (soft palate). Do a number of yawn-slides, and commence each one at a higher pitch than the last. Think of the tone as being vertical rather than horizontal, and imagine the sound as coming from your forehead and the top of your head. Think of it as riding up in an elevator, and your breath is the means that makes the elevator escalate.
A variation on this exercise, which also helps with breath control and tone positioning, is the "buzz-slide". It uses a method that goes by various names: buzz, bubble-lips, lip roll. After a great deep inhalation with good expansion, exhale using loosely puckered lips so that they resonate. When doing the buzz, try to experience the vibration in your nose and sinuses. Just like the yawn-slide, start at the top of your range and drop to the bottom.
Following, sing arpeggios. Take in a good breath with full broadening of your midsection; lightly sing an arpeggio (do-mi-so-do-so-mi-do) on "ah" or "oo". Begin at an easy pitch, and begin every new arpeggio a half-step above the last. Let your mouth open broader at the top of each one, but avoid facial contortions. Maintain an easy, relaxed, erect posture.
When you're comfortable with the exercises, go for a song to do that has a few high notes in it. Firstly choose one that has some high notes that are not sustained; the majority of the song should be in a comfortable mid-range. Later you can develop songs that stay in the upper range and need sustained notes.
A strong upper scale won't appear overnight, but if you work regularly and diligently at the exercises, you will be gladly amazed with your results.
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