Description:
Do high notes freak you out? If so, you’re not alone! And think about how our bodies respond when we’re scared or anxious: we tense or even freeze. And tense muscles usually mean vocal strain. Another reason high notes tend to cause strain is that they’re physically more demanding than low notes in a comfortable range. Your vocal folds are lengthened, but you’re still working to keep them vibrating together. That doesn’t come naturally to most people!
So let’s begin with an exercise that gets us thinking DOWN instead of UP.
Here’s our exercise, on the word “WOAH”: [sing “woah” 1-5-1]. Try it with me! [Sing] Great. But there’s nothing magical about that exercise. The magic happens when we pair this exercise with thinking DOWN and engaging our lower body. I want you to pretend that you’re actually singing a descending pattern: that your second pitch is lower than the first. That would sound like this: [sing DO-sol-DO]. Try that with me: [sing]. Now, pretend you’re singing that pattern, but return to our first pattern [sing]. Ready for some mental gymnastics? Here we go, thinking down: [sing].
One more thing before we keep going: add on a physical movement with a downward motion. It could be pointing down. Or, one I really like, imagine you’ve got something in front of you, and you’re pressing it down. Maybe it’s the plunger of a giant french press coffee maker. Or maybe it’s a frisbee floating on water and you’re pushing it under. Choose one, or make up your own, and let’s sing!
[Exercise: Ascending WOAH 1-5-1 with DOWN cue]
Next up: let’s talk about space. High notes require more space than low notes. Listen to the strain in my tone when I try to sing a high note without creating enough space: [sing 1-8-1]. Lift up the soft palate, drop the jaw, and I get singing that feels and sounds much better: [sing]. The key to this is to prepare with enough space on your inhale. Once you start singing, it’s a bit more tricky to create space.
So, let’s try it. We inhale, thinking an “AH” vowel shape to prepare our vocal tract to sing an AH, simultaneously lifting the soft palate and dropping the jaw. If that’s too much to think about, just do this: pretend like you’re about to yawn as you breathe in. Same thing!
Our exercise will begin on the high note this time. It sounds like this: [sing YAH 5-4-3-2-1]. Simple pattern! Most of the “effort” is in the preparation. Let’s give it a go!
[Exercise: Descending YAH 5-4-3-2-1 with INHALE PREP]
Nice job! Now, my last tip regarding strain and high notes has to do with registration. Be mindful of the register you’re singing in - either chest voice, head voice, or mix - and consider shifting to the next register if you’re really struggling with a high note. For example, you might be trying to sing a note in full chest voice that might be healthier in mixed voice. That really depends on your unique voice and your level of experience. If you’re unsure, a voice teacher can help you make that determination. Another option, which we’ll discuss in part 3, is choosing a different key for the song over all.
Alright! I’ll see you in the next lesson for some relaxing exercises to melt your vocal tension.
So let’s begin with an exercise that gets us thinking DOWN instead of UP.
Here’s our exercise, on the word “WOAH”: [sing “woah” 1-5-1]. Try it with me! [Sing] Great. But there’s nothing magical about that exercise. The magic happens when we pair this exercise with thinking DOWN and engaging our lower body. I want you to pretend that you’re actually singing a descending pattern: that your second pitch is lower than the first. That would sound like this: [sing DO-sol-DO]. Try that with me: [sing]. Now, pretend you’re singing that pattern, but return to our first pattern [sing]. Ready for some mental gymnastics? Here we go, thinking down: [sing].
One more thing before we keep going: add on a physical movement with a downward motion. It could be pointing down. Or, one I really like, imagine you’ve got something in front of you, and you’re pressing it down. Maybe it’s the plunger of a giant french press coffee maker. Or maybe it’s a frisbee floating on water and you’re pushing it under. Choose one, or make up your own, and let’s sing!
[Exercise: Ascending WOAH 1-5-1 with DOWN cue]
Next up: let’s talk about space. High notes require more space than low notes. Listen to the strain in my tone when I try to sing a high note without creating enough space: [sing 1-8-1]. Lift up the soft palate, drop the jaw, and I get singing that feels and sounds much better: [sing]. The key to this is to prepare with enough space on your inhale. Once you start singing, it’s a bit more tricky to create space.
So, let’s try it. We inhale, thinking an “AH” vowel shape to prepare our vocal tract to sing an AH, simultaneously lifting the soft palate and dropping the jaw. If that’s too much to think about, just do this: pretend like you’re about to yawn as you breathe in. Same thing!
Our exercise will begin on the high note this time. It sounds like this: [sing YAH 5-4-3-2-1]. Simple pattern! Most of the “effort” is in the preparation. Let’s give it a go!
[Exercise: Descending YAH 5-4-3-2-1 with INHALE PREP]
Nice job! Now, my last tip regarding strain and high notes has to do with registration. Be mindful of the register you’re singing in - either chest voice, head voice, or mix - and consider shifting to the next register if you’re really struggling with a high note. For example, you might be trying to sing a note in full chest voice that might be healthier in mixed voice. That really depends on your unique voice and your level of experience. If you’re unsure, a voice teacher can help you make that determination. Another option, which we’ll discuss in part 3, is choosing a different key for the song over all.
Alright! I’ll see you in the next lesson for some relaxing exercises to melt your vocal tension.
Lessons:
- 1: Welcome
- 2: Strain and High Notes
- 3: Tension & The Body
- 4: Other Factors
- 5: Conclusion
Instructor: Camille van Niekerk
Camille van Niekerk is a singer, writer and vocal instructor in Southern California. Camille began studying voice and performing in musicals at age seven. In 2010, Camille began working towards her BA in Music Education at Azusa Pacific University. She then earned her teaching credential from San Diego State University and taught classroom choral and instrumental music. Shortly after moving to LA county, Camille began her private vocal studio, providing vocal coaching, ear training, and recording for students of all ages. She is constantly refining her skills and methods for greater versatility and effectiveness. When she is not teaching, Camille enjoys singing with the L.A. Choral Lab and Ensoma Creative. She lives in San Diego with her husband and loves going to the beach, practicing yoga, reading, and cooking.