The stretching makes sense, because a tenor can often stretch to Eb5 or E5. As a baritone, a C5 is usually the stretch note, maybe C#5 if you’re lucky. That’s true for me, at least. I personally found great success using air resistance to create good vocal fold closure. I like to gradually close the space off as I walk up the 5 note scale, because the less that the air can move, the more the vocal folds are forced to contact on the edge if they want to vibrate (SOVT philosophy). Especially for baritones or basses, we REALLY need to double down on thinning our voice on the edge, which is much easier to do with increased air resistance at the lips. It forces us to thin out if we want to make sound. I like this exercise, which tops off using “w” from the word “wow” and the closed “b” sound for a short time (forcing maximum closure before opening back up): [Do] “uh” - [Re] “aw” - [Mi] “oh” - [Fa] “ooh” - [So] “w” - “b” - [So] “ba” - [Fa] - [Mi] - [Re] - [Do] …
That is very observant! Yes the aperture of the vocal folds should remain closed when ascending into the upper register. The difficulty most young singers have is that their arytenoid muscles are not strong enough to maintain proper adduction and the vocal cords either break apart suddenly under pressure or the vocal cords gradually abduct and thus resulting in a loss of resonance and loss of core sound.
Great comment! I think you hit the nail on the head! I agree, it is challenging to maintain proper resonance through the passaggio and into the upper register. This took me years of training to master that and I am still honing my craft.
So true! A one-on-one lesson would be the most optimal teaching format. In this video, I demonstrate how I go about training my vocal cords through a series of vocal exercises. I also discuss the correct positioning of the vocal cords to sing high C5. In reality, to sing an operatic high C5, it can take years or even over a decade of training to master.
@@joshualindsayvoicestudio6022así es. Además de ello, no todos los tenores lo pueden lograr; ya que también hay diferentes tipos de tenores ( ligero, lírico, lírico ligero; dramático, spinto). Un cordial saludo desde Argentina.
Head voice, or approximated falsetto, is way easier to sing than a full-voiced, fully adducted high C5. Voice lessons with a professional would help get you there.
Great video, i am dark lyric tenor who gets c5 on power, like spinto. You start here right on top from the headvoice/voix mixte I suppose, falsetto i can start c5 but to reach it, from under. There is a difference in singing c5 in French opera Si rozanne bientôt n'arrive (manon) because the vowel or for che gelida on è which is much more squillo. So how to get that c with which you start here? Falsetto is to weak for my chords And what do you do to keep the larynx low??
It is a matter of training and strengthening the arytenoid muscles to maintain glottal closure. This will help prevent your vocal cords from flipping into falsetto. Do a surprised inhalation and feel your Adam's apple. Does it go down. Maintain that relaxed lowered laryngeal position while you sing.
For my high c I usually use the so-called falsetto rinforsato. What is your opinion on this? My guess is that it helps to stretch the vocal folds. However, I do feel that in doing so my high c lacks a bit of roundness and connection to the notes below the high c.
When developing the high C5, I would definitely train with approximated falsetto or "falsetto rinforsato". Eventually, when the arytenoid muscles have developed sufficient strength, then you will be able to sing C5 in full voice. This can take a while to develop, depending on your voice type and passaggio.
Hi Josh, thanks for the great video! Question for you. How do you think about transitioning from a "head voice" to "full voice"? Is it a long evolutionary process or a subtle shift of technique? (I'll try to define my terms. By head voice, I mean a very light mix - maybe 90% falsetto in the sound, but not completely falsetto. An example might be Alfredo Kraus singing a high C quietly. By full voice, I mean a strong integration of chest into the sound.) Should I just keeping singing in a head voice and that will grow into full voice? Or do I need to change my vocal approach to fill out the sound? Thanks for your input!
Hi Luke! Thank you for the great question! I think it is a good idea to do falsetto exercises in the upper register, up to high C5 and beyond. This would help with your positioning, i.e. the elongation of the vocal cords. Eventually, you will need to do an approximated falsetto, or a mix, or what the Italians would say voce di lontano. There is a bit more arytenoid action when singing an approximated falsetto. After that, you can try to fully adduct the vocal cords. Sometimes the arytenoid muscles are not strong enough to withstand that much pressure and then they break apart resulting in a "crack", but eventually those muscles will get stronger and cracking will become less frequent.
@joshualindsayvoicestudio6022 ok, very cool! Thank you for taking time to write your helpful response! I think I can do the "approximated falsetto" pretty easily, and I can go way higher than High C with that. But I struggle to integrate chest at around A or Bb. I feel a strong vocal shift there. I will keep working at it! One more question for you if you don't mind. Do you believe in the concept of "covering" through the passaggio, as endorsed by Pavarotti? I've heard pro and con from people I consider very good singers. On the con side, the argument is that a "cover" on the inside introduces constriction to the throat and contradicts an open throat position. However, on the pro side, people claim that it is impossible to arrive in the upper register without it. I'm curious what your thoughts are. Thank you.
Wow, that’s impressive that you can sing C5 as a baritone! Yes, that’s quite a major feat. A lot of professional baritones can only go up to A5, at most. I had a voice teacher once who was a baritone who could sing C5 better than I could as a tenor. I was always jealous! Ha!
Out of interest, for those who seem to be able to hit the notes you demonstrate (barely, or like to think they did, maybe) yet it seems unrounded, squeally, etc. does that improve with practice, or is it just the route to strain & nodules ?
Great question! I would have to hear an example to give an accurate response. I would say that if it hurts, you are doing something wrong. I would suggest finding a well-trained voice teacher who can sing high C. He will be able to listen to what you are doing and give you feedback.
Great video. Very imfomative. I have been practicing how to sing Cara Mia by Jay Black. I was wondering your advice on how to better sing that song, especially the head notes. Thank you so much. Keep up the great videos!
I believe Jay Black has had some classical training. When he sings this high C5 in Cara Mia, is in approximated falsetto, not full voice. That's a great song!
@joshualindsayvoicestudio6022 Thanks for the response. He was trained as a cantor, which is essentially the same as opera. That 4 octave voice with that classical appeal was truly special. It would be greatly appreciated if you could break the song down in a video. Hope all is well!
Somewhere between F#4 and A4. Baritone is kind of a nebulous term that encapsulates everything between bass and tenor, so it definitely depends on your individual voice. Some of my friends who call themselves baritones can belt up to Bb4, and others have their highest at F#4. It depends.
Hi Alexander! Thanks for your question. It really depends on what type of baritone you are. (Bass-baritone, baritone, high baritone, baritenor, etc.) Bass-baritones can usually get up to F4 or F#4. Most professional baritones can sing G4. High baritones can sing Ab4 or A5. One of my voice teachers was a bass-baritone and he had a solid low F3 and he could sing high C5 better than any tenor. He was quite the anomaly, though.
Yes, he has great high notes above high C, which is quite impressive. I have only heard one singer live perform a high F above high C and I was stunned how crazy high that was. I am a lower tenor and I have more of a dramatic quality to my voice, so the C sounds a bit different than Juan Diego Florez's.
Great vid! May I ask if it is possible for a low tenor like me to reach that C5? My range is E2-G#4 i have been stuck at G#4 in a heady mix but my head voice can go up until C5
I am actually a low tenor as well, so it is definitely possible to sing high C5! It just might take longer for you than higher tenors. You are probably stuck there because of the passaggio. Having the right vocal technique will help facilitate going through the passaggio and up to high C5. Finding a voice teacher can help you do this.
Where were you 25 years ago. I think you are great. You are really helping me hit that high C.
I’m so glad to hear that! I wish I knew then what I know now about singing high C.
I thought a high C was the next C (an octave higher) , which I sing , thanks for clearing that up .
The high seat that I talk about in this video is C5, which is high C for tenors. The octave up, which is C6 is high C for sopranos.
The stretching makes sense, because a tenor can often stretch to Eb5 or E5. As a baritone, a C5 is usually the stretch note, maybe C#5 if you’re lucky. That’s true for me, at least.
I personally found great success using air resistance to create good vocal fold closure. I like to gradually close the space off as I walk up the 5 note scale, because the less that the air can move, the more the vocal folds are forced to contact on the edge if they want to vibrate (SOVT philosophy). Especially for baritones or basses, we REALLY need to double down on thinning our voice on the edge, which is much easier to do with increased air resistance at the lips. It forces us to thin out if we want to make sound.
I like this exercise, which tops off using “w” from the word “wow” and the closed “b” sound for a short time (forcing maximum closure before opening back up):
[Do] “uh” -
[Re] “aw” -
[Mi] “oh” -
[Fa] “ooh” -
[So] “w” - “b” -
[So] “ba” - [Fa] - [Mi] - [Re] - [Do] …
That is very observant! Yes the aperture of the vocal folds should remain closed when ascending into the upper register. The difficulty most young singers have is that their arytenoid muscles are not strong enough to maintain proper adduction and the vocal cords either break apart suddenly under pressure or the vocal cords gradually abduct and thus resulting in a loss of resonance and loss of core sound.
Thanks for every information. Also trying to sing those high notes. The challenge is how to smoothly transit through the resonance
Great comment! I think you hit the nail on the head! I agree, it is challenging to maintain proper resonance through the passaggio and into the upper register. This took me years of training to master that and I am still honing my craft.
@@joshualindsayvoicestudio6022 I really need more explanation on how effective I can practice the technique
This is a demonstration, not a lesson.
So true! A one-on-one lesson would be the most optimal teaching format. In this video, I demonstrate how I go about training my vocal cords through a series of vocal exercises. I also discuss the correct positioning of the vocal cords to sing high C5. In reality, to sing an operatic high C5, it can take years or even over a decade of training to master.
Then maybe you should not start out saying “I’m going to teach you how to sing a high C”! I understand it’s for the purposes of attracting viewers:)
Thanks for the suggestions, Linda! I'll keep that in mind.
@@joshualindsayvoicestudio6022así es. Además de ello, no todos los tenores lo pueden lograr; ya que también hay diferentes tipos de tenores ( ligero, lírico, lírico ligero; dramático, spinto). Un cordial saludo desde Argentina.
@@lindaanderson8329what are u going on about?
Wonderful! Thak you very much.😊🎉
You’re welcome!
je pense avoir le meme type de voix que vous ,et j ai beaucoup de mal à passer en voix de tete . votre vidéo me montre le chemin ,merci
Merci beaucoup!
This guy is amazing!
Thank you so much! I appreciate it!
bros voice is heaven
Thank you! That is very kind!
Check out Dimash singing SOS on RUclips. He has 7 octaves. Not normal for mere humans.
@@xanadu1jw wtf is that💀💀💀💀 that shuts scary
@@ibrahimismail5625 I don’t understand your question.
Great video, i am lyric tenor who gets c5 on power, like spinto. Youv start here right from the headvoice/voie
Thank you!
I can hit high C easily with mixed voice but to I can't do it with the Operatic Tone, I have tried but I think I need professional trainging for that.
Head voice, or approximated falsetto, is way easier to sing than a full-voiced, fully adducted high C5. Voice lessons with a professional would help get you there.
Great video, i am dark lyric tenor who gets c5 on power, like spinto. You start here right on top from the headvoice/voix mixte I suppose, falsetto i can start c5 but to reach it, from under. There is a difference in singing c5 in French opera Si rozanne bientôt n'arrive (manon) because the vowel or for che gelida on è which is much more squillo. So how to get that c with which you start here? Falsetto is to weak for my chords
And what do you do to keep the larynx low??
It is a matter of training and strengthening the arytenoid muscles to maintain glottal closure. This will help prevent your vocal cords from flipping into falsetto.
Do a surprised inhalation and feel your Adam's apple. Does it go down. Maintain that relaxed lowered laryngeal position while you sing.
Very good info!
Thanks!
I'm glad you liked it!
For my high c I usually use the so-called falsetto rinforsato. What is your opinion on this? My guess is that it helps to stretch the vocal folds. However, I do feel that in doing so my high c lacks a bit of roundness and connection to the notes below the high c.
When developing the high C5, I would definitely train with approximated falsetto or "falsetto rinforsato". Eventually, when the arytenoid muscles have developed sufficient strength, then you will be able to sing C5 in full voice. This can take a while to develop, depending on your voice type and passaggio.
Hi Josh, thanks for the great video!
Question for you. How do you think about transitioning from a "head voice" to "full voice"? Is it a long evolutionary process or a subtle shift of technique?
(I'll try to define my terms. By head voice, I mean a very light mix - maybe 90% falsetto in the sound, but not completely falsetto. An example might be Alfredo Kraus singing a high C quietly. By full voice, I mean a strong integration of chest into the sound.)
Should I just keeping singing in a head voice and that will grow into full voice? Or do I need to change my vocal approach to fill out the sound?
Thanks for your input!
Hi Luke! Thank you for the great question! I think it is a good idea to do falsetto exercises in the upper register, up to high C5 and beyond. This would help with your positioning, i.e. the elongation of the vocal cords. Eventually, you will need to do an approximated falsetto, or a mix, or what the Italians would say voce di lontano. There is a bit more arytenoid action when singing an approximated falsetto. After that, you can try to fully adduct the vocal cords. Sometimes the arytenoid muscles are not strong enough to withstand that much pressure and then they break apart resulting in a "crack", but eventually those muscles will get stronger and cracking will become less frequent.
@joshualindsayvoicestudio6022 ok, very cool! Thank you for taking time to write your helpful response! I think I can do the "approximated falsetto" pretty easily, and I can go way higher than High C with that. But I struggle to integrate chest at around A or Bb. I feel a strong vocal shift there. I will keep working at it!
One more question for you if you don't mind. Do you believe in the concept of "covering" through the passaggio, as endorsed by Pavarotti? I've heard pro and con from people I consider very good singers. On the con side, the argument is that a "cover" on the inside introduces constriction to the throat and contradicts an open throat position. However, on the pro side, people claim that it is impossible to arrive in the upper register without it. I'm curious what your thoughts are. Thank you.
I'm a baritone and according to my professor I've hit C5 in certain occasions but it's hard, so far it's not a note I can constantly sing on
Wow, that’s impressive that you can sing C5 as a baritone! Yes, that’s quite a major feat. A lot of professional baritones can only go up to A5, at most. I had a voice teacher once who was a baritone who could sing C5 better than I could as a tenor. I was always jealous! Ha!
Out of interest, for those who seem to be able to hit the notes you demonstrate (barely, or like to think they did, maybe) yet it seems unrounded, squeally, etc. does that improve with practice, or is it just the route to strain & nodules ?
Great question! I would have to hear an example to give an accurate response. I would say that if it hurts, you are doing something wrong. I would suggest finding a well-trained voice teacher who can sing high C. He will be able to listen to what you are doing and give you feedback.
I found myself counting the number of times he said 'ok'
I’m a master of saying OK! 😂
❣️👌
I'm nailing that high C - literally! Sounds quite painful lol
It doesn’t come overnight. Keep on training it!
Fantastic video... As a Barithone I watch this trying to go a lil bit higher
That's great! The same principles for stretching the range apply to all voice types, including baritones! Keep up the good work!
I do the same !!!!
Appreciate your humor As a new singer I find higher notes the challenge. Nice approach.
Absolutely phenomenal advice. Very well done. Thank You very much. A deserved like and subscribe from me.
Thanks for the comment! I'm glad you liked it! Keep on singing!
@@joshualindsayvoicestudio6022 Thank you. You are very welcome. Have a nice day.
Great video. Very imfomative. I have been practicing how to sing Cara Mia by Jay Black. I was wondering your advice on how to better sing that song, especially the head notes. Thank you so much. Keep up the great videos!
I believe Jay Black has had some classical training. When he sings this high C5 in Cara Mia, is in approximated falsetto, not full voice. That's a great song!
@joshualindsayvoicestudio6022 Thanks for the response. He was trained as a cantor, which is essentially the same as opera. That 4 octave voice with that classical appeal was truly special. It would be greatly appreciated if you could break the song down in a video. Hope all is well!
What would be the equivalent of high C for baritone?
Somewhere between F#4 and A4.
Baritone is kind of a nebulous term that encapsulates everything between bass and tenor, so it definitely depends on your individual voice. Some of my friends who call themselves baritones can belt up to Bb4, and others have their highest at F#4. It depends.
Hi Alexander! Thanks for your question. It really depends on what type of baritone you are. (Bass-baritone, baritone, high baritone, baritenor, etc.) Bass-baritones can usually get up to F4 or F#4. Most professional baritones can sing G4. High baritones can sing Ab4 or A5. One of my voice teachers was a bass-baritone and he had a solid low F3 and he could sing high C5 better than any tenor. He was quite the anomaly, though.
Is opera different than rock?
Cause in rock many baritones can hit C5 and higher.
@@mathieurivest2348 I think they’re talking about chest voice. If you are too, I’m confusd
Rock singers who are naturally baritones who sing high C typically sing it with reinforced falsetto or very strained adducted vocal cords.
❤Thanks
You're welcome!
Woow
Opera C
Indeed! I am an opera singer. The principles apply to other styles of singing too.
Singing an E above high C is beautiful if you are Juan D Florez 👌🏾
Yes, he has great high notes above high C, which is quite impressive. I have only heard one singer live perform a high F above high C and I was stunned how crazy high that was. I am a lower tenor and I have more of a dramatic quality to my voice, so the C sounds a bit different than Juan Diego Florez's.
Great vid! May I ask if it is possible for a low tenor like me to reach that C5? My range is E2-G#4 i have been stuck at G#4 in a heady mix but my head voice can go up until C5
I am actually a low tenor as well, so it is definitely possible to sing high C5! It just might take longer for you than higher tenors. You are probably stuck there because of the passaggio. Having the right vocal technique will help facilitate going through the passaggio and up to high C5. Finding a voice teacher can help you do this.
Valeu professor